A Elbereth Gilthoniel is an Elvish hymn to Varda (Sindarin: Elbereth) in J. R. R. Tolkien's The Lord of the Rings . It is the longest piece of Sindarin in The Lord of the Rings. It is not translated in the main text where it is first presented.
The poem, written in iambic tetrameters, has been likened to a Roman Catholic Marian hymn. Among the musical renderings of the poem, the earliest is Donald Swann's, published in his song cycle The Road Goes Ever On , while The Tolkien Ensemble recorded four different renditions.
There are three versions of this iambic tetrameter hymn, the first of which is the largest portion of Sindarin in The Lord of the Rings : [T 2] [T 3] [T 4] [T 1]
A Elbereth Gilthoniel | O Elbereth Starkindler, |
silivren penna míriel | white-glittering, slanting falls, sparkling like jewels, |
o menel aglar elenath! | from the firmament the glory of the starry host! |
Na-chaered palan-díriel | Having gazed afar into remote distance |
o galadhremmin ennorath, | from the tree-tangled Middle-lands, |
Fanuilos, le linnathon | Everwhite, to thee I will chant |
nef aear, sí nef aearon! | on this side of the ocean, here on this side of the Great Ocean! |
A Elbereth Gilthoniel | O Elbereth Starkindler, |
o menel palan-díriel, | from heaven gazing afar, |
le nallon sí di'nguruthos! | to thee I cry here beneath the shadow of death! |
A tiro nin, Fanuilos! | O look towards me, Everwhite! |
In Tolkien's legendarium, Varda (Sindarin: Elbereth) is one of the godlike Valar and the highest of the "guardians". Peter Kreeft sees her as one of the clearest reflections of Roman Catholic devotion to the Virgin Mary in Tolkien's work. [1]
In A Elbereth Gilthoniel, scholars such as Marjorie Burns and Stratford Caldecott see an echo of John Lingard's Marian hymn, Hail Queen of Heaven, the Ocean Star . [2] Caldecott commented that "Tolkien would have been familiar with one of the most popular Catholic hymns from his childhood, the tone and mood of which are markedly close to those of Tolkien's song to Elbereth." [3]
The hymn is not translated in The Lord of the Rings, though it is described: "the sweet syllables of the elvish song fell like clear jewels of blended word and melody. 'It is a song to Elbereth', said Bilbo", and at the very end of the chapter there is a hint as to its meaning: "Good night! I'll take a walk, I think, and look at the stars of Elbereth in the garden. Sleep well!" [T 3] A translation appeared much later, in the song-cycle The Road Goes Ever On , and it indeed concerns Elbereth and the stars. [T 1] Readers, then, were not expected to know the song's literal meaning, but they were meant to make something of it: as the Tolkien scholar Tom Shippey says, it is clearly something from an unfamiliar language, and it announces that "there is more to Middle-earth than can immediately be communicated". [4] In addition, Tolkien believed, contrary to most of his contemporaries, that the sounds of language gave a specific pleasure that the listener could perceive as beauty; he personally found the sounds of Gothic and Finnish, and to some extent also of Welsh, immediately beautiful. In short, as Shippey writes, Tolkien "believed that untranslated elvish would do a job that English could not". [4] Shippey suggests that readers do take something important from a song in another language, namely the feeling or style that it conveys, even if "it escapes a cerebral focus". [4]
The philologist Helge Fauskanger provides a word-by-word analysis of the hymn. He includes a comparison with Sam Gamgee's exclamation "in a language which he did not know", A Elbereth Gilthoniel o menel palan-diriel, le nallon / sí di-nguruthos! A tiro nin, Fanuilos! He notes that Tolkien translates and briefly comments on it in a letter. [T 5] [5]
In 1967, Donald Swann published a musical rendition in the score of his song cycle The Road Goes Ever On , where it forms the second part of the setting of "I Sit beside the Fire". He and William Elvin recorded it on an LP record, which included a recording of Tolkien reading the prayer. The Road Goes Ever On was republished in 1978, 1993, and 2002, [T 1] and the recording was released as a CD in 1993, but it omitted Tolkien's reading. [6]
The BBC's 1981 radio dramatisation of the Lord of the Rings included a version composed by Stephen Oliver which was released as the second track of soundtrack album, which itself is included in some commercial versions of the BBC's production. [7]
In 2006, The Tolkien Ensemble and Christopher Lee released a collection of previously released songs, The Lord of the Rings: Complete Songs and Poems . This included four different musical renditions of the poem. One of these, marked as number III (on their album At Dawn in Rivendell ), is the complete poem; it is sung by Signe Asmussen, a mezzo-soprano. [8]
A rendition composed by David Long with Plan 9 (David Donaldson, Steve Roche, and Janet Roddick) [9] [10] is briefly heard in the Extended Edition of The Lord of the Rings: The Fellowship of the Ring , where Sam and Frodo encounter "wood elves" who are singing the hymn while leaving Middle-earth. The complete song ("Passing of the Elves" / "Elvish Lament") is included in The Complete Recordings edition of the soundtrack for the film.
The Australian composer Laura Bishop composed her own rendition of the hymn. Beginning with a solo by a soprano it then repeats with an SATB choir. [11] The Norwegian classical composer Martin Romberg has set the lyrics to music in his work Eldarinwë Liri for girls' choir, which also includes the four other poems Tolkien wrote in Elven languages. The work premiered in 2010 with the Norwegian Girls Choir and Trio Mediæval at the Vestfold International Festival. [12]
The English philologist and author J. R. R. Tolkien created several constructed languages, mostly related to his fictional world of Middle-earth. Inventing languages, something that he called glossopoeia, was a lifelong occupation for Tolkien, starting in his teens.
Rivendell is a valley in J. R. R. Tolkien's fictional world of Middle-earth, representing both a homely place of sanctuary and a magical Elvish otherworld. It is an important location in The Hobbit and The Lord of the Rings, being the place where the quest to destroy the One Ring began.
In J. R. R. Tolkien's legendarium, Lothlórien or Lórien is the fairest realm of the Elves remaining in Middle-earth during the Third Age. It is ruled by Galadriel and Celeborn from their city of tree houses at Caras Galadhon. The wood-elves of the realm are called Galadhrim.
The Black Speech is one of the fictional languages constructed by J. R. R. Tolkien for his legendarium, where it was spoken in the evil realm of Mordor. In the fiction, Tolkien describes the language as created by Sauron as a constructed language to be the sole language of all the servants of Mordor.
The Road Goes Ever On is a song cycle first published in 1967 as a book of sheet music and as an audio recording. The music was written by Donald Swann, and the words are taken from poems in J. R. R. Tolkien's Middle-earth writings, especially The Lord of the Rings. The title of the song cycle is taken from "The Road Goes Ever On", the first song in the collection. The songs are designed to fit together when played in sequence. The ninth song "Lúthien Tinúviel" was added in an appendix rather than in the main sequence. Swann performed the cycle for Tolkien, who approved of the music except for the Quenya song "Namárië"; he suggested it should be in the style of a Gregorian chant, which he hummed; Swann used that melody for the song.
The following outline is provided as an overview of and topical guide to the real-world history and notable fictional elements of J. R. R. Tolkien's fantasy universe. It covers materials created by Tolkien; the works on his unpublished manuscripts, by his son Christopher Tolkien; and films, games and other media created by other people.
"Errantry" is a three-page poem by J.R.R. Tolkien, first published in The Oxford Magazine in 1933. It was included in revised and extended form in Tolkien's 1962 collection of short poems, The Adventures of Tom Bombadil. Donald Swann set the poem to music in his 1967 song cycle, The Road Goes Ever On.
"Namárië" is a poem by J. R. R. Tolkien written in one of his constructed languages, Quenya, and published in The Lord of the Rings. It is subtitled "Galadriel's Lament in Lórien", which in Quenya is Altariello nainië Lóriendessë. The poem appears, too, in a book of musical settings by Donald Swann of songs from Middle-earth, The Road Goes Ever On; the Gregorian plainsong-like melody was hummed to Swann by Tolkien. The poem is the longest Quenya text in The Lord of the Rings and also one of the longest continuous texts in Quenya that Tolkien ever wrote. An English translation is provided in the book.
The Tolkien Ensemble is a Danish ensemble which created "the world's first complete musical interpretation of the poems and songs from The Lord of the Rings". They published four CDs from 1997 to 2005, in which all the poems and songs of The Lord of the Rings are set to music. The project was approved by the Tolkien Estate. Queen Margrethe II of Denmark gave permission to use her illustrations on the CD covers.
A Night In Rivendell is the second album by the Danish group the Tolkien Ensemble. It features songs composed to the lyrics found in J. R. R. Tolkien's the Lord of the Rings and forms the second part of what was to become a complete musical interpretation of all lyrics in the book.
At Dawn in Rivendell is the third album by the Danish group the Tolkien Ensemble. It featured a guest appearance by the actor and singer Christopher Lee, who voiced the spoken word tracks and sang the part of the Ent Treebeard.
Leaving Rivendell is the fourth album by the Danish group The Tolkien Ensemble, with Christopher Lee as additional vocalist. It features songs composed to the lyrics found in The Lord of the Rings by J. R. R. Tolkien and forms the end part of a complete musical interpretation of all lyrics in the book.
"A Walking Song" is a poem in The Lord of the Rings. It appears in the third chapter, entitled "Three is Company". It is given its title in the work's index to songs and poems. There is a companion poem near the end of the novel.
"Hail, Queen of Heaven, the Ocean Star" is a Marian hymn written by Father John Lingard (1771–1851), a Catholic priest and historian who, through the works of William Cobbett, helped to smooth the passage of the Catholic Emancipation Act in England.
The Valar are characters in J. R. R. Tolkien's legendarium. They are "angelic powers" or "gods" subordinate to the one God. The Ainulindalë describes how some of the Ainur choose to enter the world (Arda) to complete its material development after its form is determined by the Music of the Ainur. The mightiest of these are called the Valar, or "the Powers of the World", and the others are known as the Maiar.
The poetry in The Lord of the Rings consists of the poems and songs written by J. R. R. Tolkien, interspersed with the prose of his high fantasy novel of Middle-earth, The Lord of the Rings. The book contains over 60 pieces of verse of many kinds; some poems related to the book were published separately. Seven of Tolkien's songs, all but one from The Lord of the Rings, were made into a song-cycle, The Road Goes Ever On, set to music by Donald Swann. All the poems in The Lord of the Rings were set to music and published on CDs by The Tolkien Ensemble.
The Song of Eärendil is the longest poem in The Lord of the Rings. In the fiction, it is sung and composed by the Hobbit Bilbo Baggins in the Elvish sanctuary of Rivendell. It tells how the mariner Eärendil tries to sail to a place of paradise, and acquires a Silmaril, a prized sun-jewel. Eventually he and his ship are set in the heavens to sail forever as the light of the Morning Star.
Tolkien's poetry is extremely varied, including both the poems and songs of Middle-earth, and other verses written throughout his life. Over 60 poems are embedded in the text of The Lord of the Rings; there are others in The Hobbit and The Adventures of Tom Bombadil; and many more in his Middle-earth legendarium and other manuscripts which remained unpublished in his lifetime, some of book length. Some 240 poems, depending on how they are counted, are in his Collected Poems, but that total excludes many of the poems embedded in his novels. Some are translations; others imitate different styles of medieval verse, including the elegiac, while others again are humorous or nonsensical. He stated that the poems embedded in his novels all had a dramatic purpose, supporting the narrative. The poems are variously in modern English, Old English, Gothic, and Tolkien's constructed languages, especially his Elvish languages, Quenya and Sindarin.
J. R. R. Tolkien was both a philologist and an author of high fantasy. He had a private theory that the sound of words was directly connected to their meaning, and that certain sounds were inherently beautiful. Scholars believe he intentionally chose words and names in his constructed Middle-earth languages to create feelings such as of beauty, longing, and strangeness. Tolkien stated that he wrote his stories to provide a setting for his languages, rather than the other way around. Tolkien constructed languages for the Elves to sound pleasant, and the Black Speech of the evil land of Mordor to sound harsh; poetry suitable for various peoples of his invented world of Middle-earth; and many place-names, chosen to convey the nature of each region. The theory is individual, but it was in the context of literary and artistic movements such as Vorticism, and earlier nonsense verse that stressed language and the sound of words, even when the words were apparently nonsense.
J. R. R. Tolkien derived the characters, stories, places, and languages of Middle-earth from many sources. Among these are the Celtic legends and languages, which for Tolkien were principally Irish and Welsh. He gave multiple conflicting reasons for his liking for Welsh. Tolkien stated directly that he had made use of Welsh phonology and grammar for his constructed Elvish language Sindarin. Scholars have identified multiple legends, both Irish and Welsh, as likely sources of some of Tolkien's stories and characters; thus for example the Noldorin Elves resemble the Irish Tuatha Dé Danann, while the tale of Beren and Lúthien parallels that of the Welsh Culhwch and Olwen. Tolkien chose Celtic names for the isolated settlement of Bree-land, to distinguish it from the Shire with its English names.
Published London : BBC Records, 1981.