This has been a year of challenges and loss. Our collective experience of a global pandemic was peppered with losses in our intimate Tolkien community as well.
Today, on this last day of the year, we wish to take a moment to remember just a few of those in our community who left this earthly realm, and have found a far green country under a swift sunrise. Whether it was the patriarch of the entirety of Tolkien’s legacy, or the artist who created infamous cover art, they will all be missed – along with so many others who sailed into the West this year. We honour them all. Fare thee well!
Christopher Tolkien – November 21, 1924 – January 16, 2020
Sir Ian Holm – 12 September 1931 – 19 June 2020
Orson Bean – July 22, 1928 – February 7, 2020
Andrew Jack – 28 January 1944 – 31 March 2020
Bruce Allpress – 25 August 1930 – 23 April 2020
Barbara Remington – 23 June 1929 – 23 January 2020
“A palace with a thousand and one entrances, J.R.R. Tolkien’s world can be explored through a thousand and one doorways … doors and corridors leading into often unexplored aspects of his universe.” – tolkienestate.com
TolkienEstate.com Home Page
If you’ve never visited the Tolkien Estate website, you’re in for a wonderful treat – one of seemingly endless discovery and learning about everything Tolkien. If you’re one of the lucky ones who have already discovered this gem of a site, it’s time to revisit it!
Speaking of translating Tolkien’s world to TV and cinema, we dug into our archives to find a rather relevant masterpiece from Green Books staffer Ostadan – originally posted November 4th, 2004. Enjoy!
Golden copy of the “Universal Gateway”, Chapter 25 of the Lotus Sutra kept in Taiwan National Palace Museum. One of the many excellent works of Kumarajiva
“Translation is like chewing food that is to be fed to others who are unable to chew themselves. As a result, the masticated food is bound to be poorer in taste and flavor than the original.” [attributed to Kumarajiva, translator of Buddhist texts into Chinese. Translated.]
Unu Ringo ilin regas, Unu ilin prenas, Unu Ringo en mallumon ilin gvidas kaj katenas.
Let us look at this translation more carefully. If we were to take each word and translate it to English directly, it would read,
One Ring them rules, One them takes, One Ring into darkness them guides and chains.
Esperanto’s word order is more liberal than English, especially in verse; a more grammatically correct English translation would be “One Ring rules them, One takes them, One Ring guides them into darkness and chains them.” Those familiar with the English text will see many evident differences — the use of present tense; the reduction of “them all” to simply “them”; the change of “find” to “take”, and so on. Why should this be so? The main reason is that Bertil Wennergren, who translated the verse, was attempting to retain not only the sense of the text, but the rhyme scheme and general meter of the original. Esperanto, which uses suffixes as markers for such things as tense and part of speech, has few single-syllable words. In contrast, there is only one word of more than one syllable, “darkness”, in the entire English version of the Ring couplet (and few, indeed, in the entire Ring-verse). If any semblence of the poetry of the original is to be retained, then the meaning of the text must be altered somewhat to fit the restrictions imposed by the verse form and the language of translation.
Of course, within the story, the famous couplet is itself only a translation, with a slight change in meter, of the Black Speech found on the Ring:
Gandalf says that his rendering in the Common Speech is “close enough” to what is said on the Ring. So the question arises: is the Esperanto translation similarly “close enough”? A “purist” might say, no: there are too many details lost or even changed by this translation, and Tolkien’s linguistic work has been undermined; someone reading the Esperanto text would come to very different conclusions about the vocabulary and grammar of Black Speech from those reached by English-speaking readers. But someone of a more “revisionist” bent sould say that the Esperanto Ring-inscription tells, probably as well as possible given the constraints of a verse translation in Esperanto, the same story as the original English. After all, it is certainly plausible that Celebrimbor, hearing these words spoken from afar as Sauron first took up the One Ring, would indeed know just how he had been betrayed and what Sauron’s true purpose behind the Rings of Power was.
J.R.R. Tolkien
In a real sense, any translated work is a collaborative effort between the original author and the translator, much as a symphonic performance is a collaboration between the composer and the conductor. In a work as complex as The Lord of the Rings, the translator must be aware of the stylistic and linguistic techniques that Tolkien is using, and create them anew in the language of translation. For the result to have any artistry at all, the translator has to be as creative and capable in the language of translation as Tolkien was in his own. The result will not be pure Tolkien; it will be Tolkien as interpreted and re-told by the translator. Arden Smith’s irregular column in the journal Vinyar Tengwar, entitled “Transitions in Translations”, has documented a wide range of successful and unsuccessful translations. In some, little care is taken in style or nomenclature — one might be reminded of the infamous Japanese subtitles for the Fellowship of the Ring movie. In others, the translator may go as far as inventing Tengwar and Cirth modes for the language of translation and will re-draw the title page inscription in translation, as well as re-lettering the translation of the West-gate of Moria in the illustration. But in all cases, the result is not, and cannot be, identical to the experience of reading the original English text.
A “purist” might therefore conclude that because a translation necessarily loses some of the nuances and richness of the original, nobody should read Tolkien’s work in translation, and that the translators themselves are wasting their time in a futile exercise at best, or a fraudulent representation of their own works as being J.R.R. Tolkien’s at worst. To the purist, Tolkien’s original work is the only “true” account of events in a world that seems nearly as real as the ancient history of our own world, and deviation from that account seems to be somehow a distortion of a primary truth. But most people would agree that, given a certain minimum quality of translation, the defects inherent in reading a work in translation are outweighed by the availability of the book to people who cannot read it in English and would not be able to experience Middle-earth in any form without the translation, like the unfortunate soul in the quotation from Kumarajiva, who requires someone else to chew their food if they are to avoid starvation. Some of these people may even be motivated by a good translation to search out an English edition and laboriously work through it.
By now, the reader has probably anticipated the author’s conclusion from these musings about translation: the art of the filmmaker has much in common with the art of the translator. The requirements of film — or at least an artistically and commercially successful one — dictate particular rhythms and modes of expression in the storytelling that the original author contemplated no more than Tolkien considered how the Ring-verse would fit the rhythms of Esperanto or other languages. Even more than a translator, the filmmaker is a collaborator with the author, reinventing and recreating the author’s work so that it can be expressed as artistically as possible in the “language of film”. The result will not be purely Tolkien’s work, and will inevitably lose much of the delicious “flavor” of the original. It may even have serious defects in several particulars; but the real question is whether, like the Ring-verse translation, it tells the same essential story, “close enough”. If it does, then it does what any good translation does: it brings a great work to people who otherwise would not read it on their own.
“I cannot read the black and white letters,” he said in a quavering voice.
“No,” said Jackson, “but I can. The letters are English, of a narrative mode, but the language is that of the Epic Romance, which I will not utter here. But this in the Cinematic Tongue is what is said, close enough…”
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
It has come to light on the Tolkien Collector’s Guide that Harper Collins and Houghton Mifflin have plans to publish a new book titled The Nature of Middle-earth in 2021 containing previously unpublished writings by J.R.R. Tolkien.
The book has been edited by Tolkien expert Carl F. Hostetter who heads the Elvish Linguistic Fellowship. The materials on which the book is based were sent to Hostetter in photocopy by Christopher Tolkien, before his passing, for potential publication.
The details were first released in a catalogue for the Frankfurt Book Fair in 2019. The description, excerpted from the catalogue (page 64), follows.
The first ever publication of J. R. R. Tolkien’s final writings on Middle-earth, covering a wide-range of subjects, and the perfect next read for those who have enjoyed Unfinished Tales and the History of Middle-earth series and are hungry for more.
The Nature of Middle-earth will comprise numerous late (c. 1959-73) and previously unpublished writings by J.R.R. Tolkien on the “nature” of Middle-earth, in both chief senses of that word: both metaphysical and natural/historical.
For Tolkien fans, readers, and scholars interested in learning more about Tolkien’s own views on Middle-earth. It will appeal in particular to those readers who enjoyed Unfinished Tales, and some of the later volumes of the History of Middle-earth. Indeed, many of the texts to be included are closely associated with materials published in those places, and were sent to Hostetter, specifically, in photocopy by Christopher Tolkien for potential publication.
Much as Unfinished Tales forms an unofficial thirteenth volume of the History of Middle-earth, this new book will sit very nicely alongside as an unofficial 14th volume. Of particular note, given the impending Amazon series, are several texts detailing the lands, flora, and fauna of Númenor, and the lives of Númenóreans.
Harper Collins Publishers, Frankfurt BookFair 2019, Fiction Translation Rights
It is with a heavy heart that I write this news. Christopher Tolkien has passed away. He was 95 years old.
Christopher was the third son of our beloved author Professor J.R.R. Tolkien, and had spent much of his life honoring his father’s legacy and bringing us so many of the Professor’s works posthumously. He edited and published such monumental works as The Silmarillion, The Unfinished Tales, The Book of Lost Tales, The History of Middle-earth and, in recent years, the individually released tales of The Children of Hurin, Beren and Luthien, and The Fall of Gondolin.
Late last week, Amazon Prime began taking us on an intriguing journey though a version of Middle-earth where, presumably, their upcoming TV series will take place. Providing clues in the form of names of regions familiar to fans of “The Lord of the Rings” and “The Hobbit” books and movies, along with quotes from Tolkien’s Ring Verse, they’ve sparked internet-wide speculation about what the clues mean. Following is a recap of the hints so far, along with the top theories and takeaways from each.
The journey begins – Wednesday, February 13
On Wednesday, February 13, when Amazon posted a quote on various ‘lotronprime’ internet sites from J.R.R. Tolkien’s Letter 144: “I wisely started with a map.” The full quote is: “I wisely started with a map and made the story fit. ” In that spirit, Amazon began feeding us a series of hints about how their story will fit into the map of Middle-earth. What regions, towns and cities will be involved? What people, animals and other creatures? We believe we’ll get the answers to many of these questions soon. Until then, Amazon seems to be taking another quote to heart from the same letter: “As a story, I think it is good that there should be a lot of things unexplained (especially if an explanation actually exists)!”
Top theories and takeaways:
• One rumor is that this is part of a 10-day marketing reveal. If that’s true, it would be wrapping up this weekend, or sometime next week, depending on when you start counting. Regardless of the exact timetable, it’s clear that Amazon will be posting more hints over time.
• Another rumor stems from a coincidence that after the first verse quoted, “Three rings for the Elven kings,” the next clue appeared three days later. Using that logic, the next quote, ‘Seven for the Dwarf Lords,” means the next clue will appear this Monday, February 25.
• Many fans are encouraged by the fact that Amazon is using quotes directly from J.R.R. Tolkien and his works out-of-the-gate, so-to-speak.
• Using the maps and Ring Verse to do their reveal is clever and imaginative, and great fun for fans!
Map 1 and the first line of the Ring Verse (Friday, February 15)
Two days after the first post appeared, a map of Middle-earth appeared along with the first line of Tolkien’s Ring Verse poem: Three rings for the Elven kings under the sky,”. The map itself was blank, but that didn’t stop speculation from one end of the internet to the other.
Top theories and takeaways:
• The mountains on the far east of the map are not on any maps drawn by either J.R.R. Tolkien or his son Christopher, but do appear on a version of a map from The Hobbit movies, and on a map included in Karen Wynn Fonstad’s “The Atlas of Middle-earth.” In the Atlas, they are labeled, “Orocarni (Mountains of the East).” From various sources, we know that “Orocarni” translates to “Red Mountains,” and that Tokien’s references to these mountains appear in “The History of Middle-earth” compiled by Christopher. We don’t know much about them except they were close to the location the Elves awoke.
• The map is definitely from either the 2nd or 3rd Age, as the lands from “The Silmarillion” that existed in the 1st Age are not on the map. This makes sense, because while we don’t know exactly what film rights Amazon prime has, it is believed they don’t have rights to material from “The Silmarillion.” Further, many fans believe the map has to be from the 3rd Age because it seems to reflect the severe deforestation that occurred in the 2nd Age when the Numenoreans harvested trees from Middle-earth to build their ships.
• The compass rose was taken from Fonstad’s “The Atlas of Middle-earth.” The compass points contain some inadvertent errors noticed by keen-eyed Tolkien geeks, explained in-depth on the Tolkien Guide website. However, the takeaway is that Amazon again is making an effort to reference Tolkien and Tolkien-related scholarship. Bravo!
• The ring verse line about the three rings contained a comma at the end, indicating more clues were on the way, and sure enough, they were.
Map 2 and the second line of the Ring Verse (Monday, February 18)
Three days after the appearance of Map 1, a new version of the map appeared with the second line of the Ring Verse (again with a comma at the end): “Seven for the Dwarf-lords in their halls of stone,”. This time, a number of regions names appeared on the map. All of the regions align with Tolkien’s stories and maps, but some names, such as Gondor and Eregion, are missing. Will they appear on future maps? Will the names of cities such as Rivendell and Minas Tirith appear? We don’t know, but it’s a safe bet that the answer is yes.
Top theories and takeaways:
• Many fans immediately noticed that the region widely known as Rohan is designated as Calenardhon. That name was used before Eorl the Young came to the aid of Gondor in the year 2510 of the 3rd Age. For his help, Eorl was awarded most of the area by Cirion, Steward of Gondor, and the Rohirrim renamed it Mark of the Riders, or Rohan. This could indicate that the TV series will take place prior to the region being renamed, not that it narrows things down much, as just short of 6,000 years of history occurred between the start of the 2nd Age and the year 2510 of the 3rd Age.
• If the above theory is correct, it could dash previous rumors that the series will follow a young Aragorn, as Aragorn wasn’t born until the year 2929 T.A., over 400 years after the region was renamed.
• Despite the appearance of the forests on the map looking like they’re from the 3rd Age, the continued use of the Ring Verse in the clues could indicate the story-line will center on the making of the Rings of Power themselves. The Rings of Power were forged by the Elves of Eregion starting around 1500 S.A., culminating with Sauron making the One Ring in the year 1600 S.A.. This theory could be solidified (or not) if Eregion appears on future versions of Amazon’s map.
There you have it! All of the major takeaways, theories and rumors from the clues we have from Amazon so far. Have you heard any other rumors? Let us know!
We recommend staying tuned here and on our facebook page for more up-to-the-minute news and analysis. We also highly recommend tuning in to TORn Tuesdays, where Cliff ‘Quickbeam’ Broadway and sidekick Justin gave an in-depth analysis of the map this past Tuesday, and will continue to bring everyone updates in the future.
