Is there any word from the lord of the rings

Мы всегда советуем смотреть фильмы на английском. Потому что это полезно: вам в голову западут фразы с оригинальными выражениями и интонацией, какими их произносили актеры. И вы никогда не забудете грамматические конструкции и слова из этих фраз. Собрали самое важное, чему нас научил «Властелин колец».

Знаменитое восклицание Гэндальфа «Ты не пройдешь!» специально сделано старомодным — он же древний и могущественный волшебник. Shall как замена will уже давно отмирает и остается на бумаге лишь в каких-то старых изданиях зеленого учебника Голицынского. Иронично, что в книгах такой фразы нет. Там Гэндальф говорит гораздо более понятное нам «You cannot pass».

Обязательно надо говорить коронную фразу Голлума с растягиванием: «My precious-s-s-s-s». И страшно улыбаться. Только не увлекайтесь, а то мало ли что. Но скажем честно: благодаря «Властелину колец» слово «прелесть» знают даже люди с нулевым уровнем английского. 

Фродо взвалил на себя тяжелую ношу, но даже не знает, в какую сторону идти. Используйте эту фразу, когда хотите узнать местонахождение чего угодно: «Buckingham palace, sir, is it left or right?» («Букингемский дворец, сэр, он налево или направо?»).

О да, Братство кольца (по-английски — Fellowship of the Ring). Переводятся фразы так: «С тобой мой меч. И мой лук. И моя секира». Запомните, что axe — это топор, а не только дезодорант.

Тренируем редкие глаголы вместе с Гимли: «Никто не смеет швырять гнома»! Toss — бросать, кидать, швырять. Глагол правильный, значит просто добавляем -ed и живем спокойно.

Самый известный мем из «Властелина колец» и на русском и на английском звучит одинаково потешно: «Нельзя просто так войти в Мордор». Но разберемся в грамматике. One здесь не число один, а заменитель существительного или местоимения, вместо него вполне могло стоять you («You don’t simply walk into Mordor» — «Ты просто так не войдешь в Мордор»). Такая конструкция очень пригодится вам в эссе. Повторять слова там — дурной тон, а значит их нужно на что-то заменять. Например, на one.

Снова Гэндальф со странными словами. Почему fly, а фраза переводится как «Бегите, глупцы»? Да, в английском слова тоже могут употребляться не в прямом значении, метафорично. Убегайте так быстро, будто летите. Все совсем встает на свои места, если знаешь, что есть глагол flee (сходно по звучанию, ага), который и переводится как «убегать, спасаться бегством».

Фраза «Они уносят хоббитов в Изенгард!» точно впечатается вам в мозг после десятичасового видео. Лучший саундтрек для вечеринок.

Переводчик здесь достаточно вольно подошел к тексту, так что по-русски получилось «Мои друзья… Вам ли кланяться?» Он передал главный смысл, но не точь-в-точь (буквально будет: «Вы ни перед кем не должны кланяться»). Получилось красиво. Отметим, что bow — это не только глагол «кланяться», но и существительное «лук» (из которого стреляет Леголас), а еще «бант» (который завязывают на подарке).

«Тебе не спрятаться. Я вижу тебя» — такое слышать и правда страшновато. Под воздействием глаза Саурона заклинаем вас только не забывать, что «I see» — это еще и «я понимаю». Не путайте в контексте.

Самый грустный момент, ведь Фродо все-таки пал под властью кольца и кричит, что оно принадлежит ему. Но тут хорошо вспомнить, что артикль the используется для чего-то единственного в своем роде (The Ring — только то Одно Кольцо, главное, а не какое-то еще).

«У тебя здесь нет власти, Гэндальф Серый!» — да, мощная фраза. К тому же тут отличная грамматика. Необязательно строить все эти отрицательные конструкции из do + not («You don’t have power here», согласитесь, звучит не так внушительно). Можно сказать «you have», а потом уже отрицать через no («You have no food here, mother» — «У тебя здесь нет еды, мама»).

Помните великий диалог Эовин и Короля-чародея? Он говорит: «Меня не убить смертному мужу», — а она отвечает: «Я не муж». Настоящая girl power еще до того, как это стало мейнстримом! Даже Гэндальф не смог, а Эовин смогла. Just awesome.

Мы всегда плачем во время этой сцены. Запомните, что side-by-side (бок о бок) в английском нужно писать через дефисы, а в русском — как три отдельных слова.

Как видите, «Властелин колец» — просто кладезь грамматической мудрости. Да и вообще учить английский по фильмам безумно увлекательно! Если хотите продолжить, прочитайте нашу статью с методами, которые помогут превратить просмотр любого фильма в полезный урок английского. 

For the first month of data sketches our topic was movies and I quickly settled on the Lord of the Rings. I came across a fantastic dataset that counted the number of words spoken by each character, in each scene, of all 3 extended editions of the movies. I was intrigued to visualize how many words each character of the Fellowship had spoken at each location. However, in original dataset there was sadly no information about location. Therefore, I manually added an on-screen location to each of the ±800 rows of data using the movie scripts found online and my own memory.

In June I got an email from Christian Wisniewski with a sketch that looked a bit like a Chord diagram but with nodes in the center. It seemed very intriguing and since I have a fond history of hacking the chord diagram for other purposes I wanted to try to create my own version of Christian’s idea. And while thinking of the LotR dataset I thought it could fit really well with version I vaguely had in my mind.

To build this layout I used d3’s chord and ribbon functions as my basis but then started systematically making alterations to the chords and adding another level of data through the inner labels. You can read more about the data, design & coding on the data sketches July write-up.

An A4 print of this piece is available in my online shop. It’s printed with high quality (archival) ink and rich, textured, gorgeous paper.

The Hobbit & The Lord of the Rings Languages

With the release of the new film based on the book The Hobbit, Language Connections examines the many new languages created by J.R.R. Tolkien for his popular novels The Hobbit and The Lord of the Rings.

Languages of Middle-Earth

In many works of fictional literature, authors will create fantastic new languages for the strange new worlds they imagined. Among the most famous are the languages constructed by J. R. R. Tolkien which were created for his fictional universe, often called Middle-earth, and are the basis for The Hobbit and The Lord of the Rings trilogy.  Many of the names of characters in Tolkien’s books, such as Elrond and Bolg in The Hobbit and Galadriel and Aragorn in The Lord of the Rings, are derived from Middle-earth languages. There are many who consider Tolkien a linguistic genius because of his creative ability to compose these new and complex languages.

Tolkien’s World

Tolkien’s world was one composed of many different creatures, each with their own unique language, dialect and accent.

“What I think is a primary ‘fact’ about my work, that it is all of a piece, and fundamentally linguistic in inspiration. The invention of languages is the foundation. The ‘stories’ were made rather to provide a world for the languages than the reverse. To me a name comes first and the story follows. I should have preferred to write in ‘Elvish’. But, of course, such a work as The Lord of the Rings has been edited and only as much ‘language’ has been left in as I thought would be stomached by readers.”- J.R.R. Tolkien

The characters, as well as the stories behind them, are based largely on Tolkien’s languages of Middle-earth. He develops these characters through the tones and rhythmic patterns of their speech and gives the reader a sense of their culture.

The Elvish Language

The Elvish language family is a group of languages descending from a common ancestor called the proto-language, also known as Primitive Quendian.
Tolkien began to construct his first Elvin tongue while he was at the King Edward’s School in Birmingham, England (c. 1910–1911), and later called it Quenya. Tolkien was familiar with several established languages including Latin, Greek, Spanish, and several ancient Germanic languages, e.g. Gothic, Old Norse and Old English. But it was his discovery of the Finnish language that truely inspired him. Tolkien wrote about it many years later: “It was like discovering a complete wine-cellar filled with bottles of an amazing wine of a kind and flavor never tasted before. It quite intoxicated me.” Although he began his study of the Finnish language to enable him to read the Kalevala, a 19th-century work of epic poetry from Finnish and Karelian folklore, it later became the basis for early Quenya.

“The ingredients in Quenya are various, but worked out into a self-consistent character not precisely like any language that I know. Finnish, which I came across when I first begun to construct a ‘mythology’ was a dominant influence, but that has been much reduced [now in late Quenya]. It survives in some features: such as the absence of any consonant combinations initially, the absence of the voiced stops b, d, g (except in mb, nd, ng, ld, rd, which are favoured) and the fondness for the ending -inen, -ainen, -oinen, also in some points of grammar, such as the inflexional endings -sse (rest at or in), -nna (movement to, towards), and -llo (movement from); the personal possessives are also expressed by suffixes; there is no gender.”

The Elvish languages underwent numerous grammatical revisions, mostly involving conjugation and the pronominal systems. Other than during its conception, however, the Elven vocabulary was not subject to major changes. Once a word was created, he was continually refining its meaning and creating new synonyms for it. Tolkien greatly enjoyed  inventing new etymons, and thus Elven etymology was in a constant flux.

Languages of Men

Although the Languages of Men of Middle-earth were numerous, most of them were merely mentioned in his novels. However, he did develop grammar and vocabulary for at least three, Taliska, Adûnaic, and the Soval Pharë, which were spoken by both Hobbits and Men in the Third Age. Taliska, based on the Gothic language, was an early interest of Tolkien. Despite the fact that he developed a grammar and a lexicon of Taliska, these have not yet been published.

Adûnaic, the language used in everyday speech by the majority of the population, was derived from closely related dialects of Taliska. Soval Pharë, also known as “Common Speech” or Westron in English, comes closest to being a lingua franca in Middle-earth particularly during the time period of The Lord of the Rings. The name Westron is derived from the English word “West” and not from the actual language itself. Other less developed languages included: Dalish (derived from Old Norse), and Rohirric (derived from Anglo-Saxon), Rhovanion (derived from Gothic), as well as Haladin, Dunlendish, Drûg, Haradrim, and Easterling.

The Dwarvish Language

Khuzdul was the secret language of the Dwarves. Tolkien based Dwarvish on the Semitic languages, due to his observation of similarities between Dwarves and Jews: both were “at once natives and aliens in their habitations, speaking the languages of the country, but with an accent due to their own private tongue…”. Tolkien also commented of the Dwarves that “their words are Semitic obviously, constructed to be Semitic.” Like the Semitic languages, Khuzdul has triconsonantal roots: kh-z-d, b-n-d, z-g-l. Other similarities to Hebrew in phonology and morphology have been observed.

It is said in the novel The Silmarillion that Aulë, the creator of the first Dwarves, taught them “the language he had devised for them,” which implies that Khuzdul is technically a constructed language. It is also said that because of the Dwarves’ great reverence for Aulë, their language remained unchanged, and all clans could still speak with each other without difficulty despite the great distances that separated them. Due to their respect for their cultural heritage and in an effort to preserve the language, the Dwarves did not learn Khuzdul as young children. Instead, Dwarves learned the language through reverent study as they matured, to make sure that it was passed down unaltered from one generation to the next. Variation of Khuzdul has been compared to that of other languages as “the weathering of hard rock and the melting of snow.”

The Entish Language

Entish is the language of the Ents, although originally they had no “language” of their own. However the first Elves encountered the first Ents in the primeval forests of Middle-earth, not long after the dawn of both of their races. Apparently recognizing the sentience of Ents and the more “awake” trees, the Elves taught them the concept of communicating using sounds rather than words. Because of continued contact with the Elves, the Ents learned much from them. The Ents were enchanted by the Elvish language, Quenya, and adapted it for their own everyday use by transforming Quenya vocabulary using Old Entish grammatical structure. As a result, unlike Old Entish, the individual words of “New Entish” that characters such as Treebeard spoke were easily translatable.

The Black Speech

The Black Speech is spoken in the realm of Mordor, a black volcanic plain in Middle-earth. It is one of the languages of Arda in Tolkien’s Middle-earth fictional universe in The Lord of the Rings. Tolkien describes the language as being created by Sauron as an artificial language to be the sole language of all the servants of Mordor, thereby replacing the many different dialects of Orkish and other languages used by his servants. The language exists in two forms, in the ancient “pure” forms used by Sauron himself, the Nazgûl, and the Olog-hai, and the more “debased” form used by the soldiery of the Barad-dûr at the end of the Third Age.

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