Page 3 (§§7-12)



§7² / §8 / §9 / §10 / §11 / §12¹


§7² / §8 / §9 / §10 / §11 / §12¹


§7² / §8 / §9 / §10 / §11 / §12¹

Paragraphs & Analysis

Well, well…page 3 went smooth but too slow I think. I need to get back at my feet with Ainulindalë translation. Close attention was required and as always those famous substitutions, usage of synonyms and so on. Here comes the end of §7, resuming from the previous page.


{…resuming from page 2}

nyérëo, yallo vanesserya túlë ambë. I exë sí

enétie’rderya; mal nes róma, ar lusta, ar oialavë

vorima; ar haryanes titta rainë, mal haryanes hoa róma ve

tumbeli rámala lammassen. Ar nevis quoro

i exë lin ormenen ómaryava, mal yétas’en

yellinquë lammar ner mapaina i exenen ar lanyaina

aina panoryassë.

I lindi mahtaner


{…resuming from Page 2}

sorrow, from which its beauty came more. The other now

had got its singularity; but it was a loud sound, and empty, and unceasingly

repeated; and it had little harmony, but it had large noise as

many trumpets shouting upon sounds. And it tried to choke

the other music by the violence of its voice, but it seemed that

triumphant sounds were taken by the other and woven into

 its sacred arrangement.

The ending of paragraph §7 was a bit hard due to its repeated words. There was too much loud sound, noise, sounding, voice…I had to come out with slightly different synonyms in order to make it not too much repeated. The hardest part was adapting ‘trumpets braying upon few notes’ into Quenya. Best adaptation as you can see above was: ‘trumpets shouting upon sounds’ (as there’s no word for ‘notes’ in Quenya).

Time to listen a bit more!!!


The show must go on…time to head to the 8th paragraph!


Endessë ohto sina, yassë i mardi’lúvatarwa paller ar

wilwa oantë sendë hlónilóriessen, Ilúvatar ortanë

lúmë neldëa, ar antarya né aica cenien. Tá ortanes máryat,

ar lindë minessë, tumna lá i Undumë, tára lá i

Menel, laica ve i cala hen Ilúvataro, I Lindalë pustanë.

Antarya né aica cenien


In the midst of this war, whereat the halls of Ilúvatar shook and

a wave* went out rested# into the soundlessness, Ilúvatar arose

a third time, and his face was terrible to behold. Then he rose both his hands,

 and in one tune, deeper than the Abyss, loftier than the

Heavens, sharp as the light of the eye of Ilúvatar, the Music stopped.

This time wasn’t that simple like other paragraphs! As you can see, 2nd sentence is full of notes. Firstly, (*) instead of “tremor” from the original text, what I could render the most approximate was something like “wave” in the sense of “fluterring to and fro” which is the exact meaning of the word in Quenya wilwa. Also (#) the position of the word “rested” is very weird that it deserved a note here. You can put it in the end or in the middle, in Quenya it will look odd as there’s not enough vocabulary to express that the “soundlessness” (silence in the original) was yet unmoved.

You know what time it is, time to sit back and LISTEN:


   Wow…now come the rebuking words of Ilúvatar! I love that part:


Sië Ilúvatar quentë, ar eques: “Taurë nar Ainur, ar

 antaura imbi te ná Melcor; mal ya ecë sen ista, ar ilyë

Ainuin, ya nanyë Ilúvatar, natar tanë ya ilindiel, tanuvanyet,

tá ecë len cenë ya acáriel. Ar le, Melcor,

cenuval i lá lin lerta tyalda ná ya umë harya métima

 ehtelë nissë, ar úquen polë vista i lindalë ninna. Pan quén

i nevitas tanuva tulcavë tammanya ná autien

       engwer anelmendinqua, ya úmies immo navë.”

Taurë nar ilyë Ainur equë Ilúvatar.


Then Ilúvatar spoke, and he said: “Mighty are Ainur, and

mightiest among them is Melkor; but that may* he know, and all

Ainur, that I am Ilúvatar, things those# that you have sung, I will show them,

so may* you see what you have done. And you, Melkor,

you will see that no melody can* played be that doesn’t have ultimate

source in me, and none can change the music (against) me. For one

who tries it will show strongly my tool to be creating

things most wonderful, that he himself  hasn’t thought of.”

Firstly, there are some notes to be made about the §9. Let’s consider them! First I pointed out with the *, some modal verbs. Modal verbs in Quenya express some slight different shades of meaning than we’re used in English. Sometimes we cannot simply translate may into ecë (for instance), because the meaning of this ‘may’ may point you to another direction. Check below:

Ecë = Have chance, opportunity

Lerta = Be allowed to, free to

Cé = Uncertainty (like may be)

Nai = Wish

See? All these Quenya words are translated as ‘may’!!! In the sentence, Melkor will have the chance to realize the power of Ilúvatar, so ecë sen ista (lit. it may for him to know). The second * referring to “no melody can” means that no melody are free to, they’re all bound to Ilúvatar in the end, so lerta tyalda ná.

The other note #, is concerning the word order of demonstrative pronouns (this, that). They ALWAYS come after the word they’re referring to. So, nata tana (lit. thing that) & natar tanë (lit. things those)

And now time to: LISTEN!



Sië Ainur ner’úcinë, ar úmentë hanya er i

quettar yan te quétina ner; ar Melcor né quanta naityalëo,

yallo tullë nulda rúsë. Mal Ilúvatar ortanë alcaressë,

ar tentanes vánimë ardallon ya’cáries Ainuin; ar

Ainur hilyaner se.

Melcor quanta nulda rúsë


Thus Ainur were confused, and they didn’t understand yet the

words which to them said were; and Melkor was filled with shame,

from which came secret wrath. But Ilúvatar arose in glory,

and he went forth from the fair regions that he had made to Ainur; and

Ainur followed him.

You know what time it is….time to LISTEN!


Coming almost to the end of page 3 of Ainulindalë Quenyanna! Now it’s time for the Ainur to behold their music! And its vision fills their eyes with beauty and their hearts with…love.


Mal írë tullentë Cúmanna, equë Ilúvatar ten:

“Ela Lindalelya!” Ar tananeryet indemma, antië ten

olos yassë nes er hlaralë yá; ar cennentë viny’Ambar carna

cénima epë te, ar nes corna mici Cúma, ar nes

marna sessë, mal sello úmes. Ar talumë yétanentë ar maquententë intë

Ambar sina yésë panta quentalerya, ar yétanes’e ar te yan

nes cuina ar alálanes. Ar írë Ainur ecénier an lú ar ner

ómalórë, equë Ilúvatar ata: “Ela Lindalelya! Sina lindelëa túrelya;

ar ilya hiruva mir sinomë, mici i pano

ya tulcan epë le, ilyë nati ya yétëas’en carnes hya

yantyanes immo. Ar le, Melcor, hiruval ilyë haldë

sanwer sámalyava, ar cenuval nantë asta

ilyo ar olva alcaryava.”

I olos Cúmassë


But when they came to the Void, said Ilúvatar to them:

“Behold your Music!” And he showed them a mind-picture, giving them

vision where it was only hearing formerly; and they saw new World made

visible before them, and it was globed amid the Void, and it was

settled in it, but it wasn’t from it. And then, they looked and asked themselves

this World began to open its history, and it seemed to them that

it was alive and grew. And when Ainur had seen for a moment and were

voiceless, said Ilúvatar again: “Behold your Music!” This is your melodious mastery

and each will find inside here, amid the arrangement

that I establish before you, all things that it’s seeming he made or

he himself added. And you, Melkor, you will find all veiled

thoughts of your mind, and you will see they are part

of a whole and a branch of its glory.”

Time to LISTEN to §11 and check the pronunciation!


Nearing the end of page 3, we have the introduction of §12 where Ilúvatar keeps instructing the Ainur about the things in Eä:


Ar lihya Ilúvatar quentë Ainuin talumë,

ar pan enyalienta quettaryo, ar i handë ya

ilya harya lindalëo carnes immo, Ainur hanyar engwer…

{to be continued}

Arda, i olos Ainuiva


And many other (things) Ilúvatar spoke to Ainur at that moment,

and because of their memory of his words, and the knowledge that

each has of the music he himself made, Ainur know things…

{to be continued}

And to end page 3 once and for all, the audio of §12 introduction! LISTEN:



One response to “Page 3 (§§7-12)

  1. Pingback: The one was deep and wide and beautiful… | quenya101

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