APPENDIX E IIIS and represents a sound like that often heard in English hew, huge; h in Quenya eht, tht had the same sound. The sound of English sh, which was common in Westron, was often substituted by speakers of that language. Cf. TY above. HY was usually derived from sy- and khy-; in both cases related Sindarin words show initial h, as in Q. Hyarmen ‘south’, S. Harad. Note that consonants written twice, as zt, l/l, ss, nn, represent long, ‘double’ consonants. At the end of words of more than one syllable these were usually shortened: as in Rohan from Rochann (archaic Rochand). In Sindarin the combinations ng, nd, mb, which were specially favoured in the Eldarin languages at an earlier stage, suffered various changes. mb became m in all cases, but still counted as a long consonant for purposes of stress (see below), and is thus written mm in cases where otherwise the stress might be in doubt.' ng remained unchanged except initially and finally where it became the simple nasal (as in English sing). nd became nn usually, as Ennor ‘Middle-earth’, Q. Endore; but remained nd at the end of fully accented monosyllables such as thond ‘root’ (cf. Morthond ‘Blackroot’), and also before r, as Andros ‘long-foam’. This vd is also seen in some ancient names derived from an older period, such as Nargothrond, Gondolin, Beleriand. In the Third Age final nd in long words had become 7 from mn, as in Ithilien, Rohan, Anorien. VOWELS For vowels the letters 7, e, a, 0, u are used, and (in Sindarin only) y. As far as can be determined the sounds represented by these letters (other than y) were of normal kind, though doubtless many local varieties escape detection.” That is, the sounds were approximately those represented by 1, e, a, 0, u in English machine, were, father, for, brute, irrespective of quantity. In Sindarin long e, a, o had the same quality as the short vowels, being derived in comparatively recent times from them (older é, ad, 6 had been changed). In Quenya long é and 6 were, when correctly? pronounced, as by the Eldar, tenser and ‘closer’ than the short vowels. Sindarin alone among contemporary languages possessed the ‘modified’ or fronted u, more or less as u in French June. It was partly a modification of o and u, partly derived from older diphthongs ew, iu. For this sound y has been used (as in ancient English): as in lpg ‘snake’, Q. leuca, or emyn pl. of amon ‘hill’. In Gondor this y was usually pronounced like 7. * * * ' As in galadhremmin ennorath (p. 238) ‘tree-woven lands of Middle-earth’. Remmirath (p. 81) contains rem ‘mesh’, Q. rembe, + mir ‘jewel’. ? A fairly widespread pronunciation of long é and 6 as ei and ou, more or less as in English say no, both in Westron and in the renderings of Quenya names by Westron speakers, is shown by spellings such as e7, ou (or their equivalents in contemporary scripts). But such pronunciations were regarded as incorrect or rustic. They were naturally usual in the Shire. Those therefore who pronounce yéni unotime ‘long-years innumerable’, as is natural in English (sc. more or less as yainy oonoatimy) will err little more than Bilbo, Meriadoc, or Peregrin. Frodo is said to have shown great ‘skill with foreign sounds’.
附錄E IIIS 代表一種聲音，類似於英語hew、huge中常聽到的音；昆雅語eht、tht中的h也有相同的發音。英語sh的發音在西方通用語中很常見，但該語言的使用者常以其他音替代。參見上文TY。HY通常源自sy-和khy-；在這兩種情況下，相關的辛達林語詞彙都顯示詞首h，例如昆雅語Hyarmen「南方」、辛達林語Harad。請注意，寫作兩次的輔音，如zt、l/l、ss、nn，代表長輔音或「雙輔音」。在多音節詞的詞尾，這些輔音通常會縮短：例如Rohan源自Rochann（古語Rochand）。在辛達林語中，ng、nd、mb這些組合在早期精靈語中特別受青睞，但後來經歷了各種變化。mb在所有情況下都變成了m，但為了重音目的（見下文）仍被視為長輔音，因此在重音可能不明確的情況下寫作mm。ng保持不變，除了在詞首和詞尾變為簡單的鼻音（如英語sing）。nd通常變為nn，例如Ennor「中土」、昆雅語Endore；但在完全重讀的單音節詞末尾，如thond「根」（參見Morthond「黑根」），以及在r之前，如Andros「長浪」，則保持nd不變。這種nd也見於一些源自更古老時期的古老名稱，例如Nargothrond、Gondolin、Beleriand。在第三紀元，長詞中的詞尾nd已變為n，例如Ithilien、Rohan、Anorien。 母音 關於母音，使用字母i、e、a、o、u，以及（僅限辛達林語）y。據判斷，這些字母（y除外）所代表的發音屬於正常類型，儘管無疑有許多地方變體未被察覺。也就是說，這些發音大約與英語machine、were、father、for、brute中的i、e、a、o、u所代表的發音相似，不論其長短。在辛達林語中，長母音e、a、o與短母音具有相同的音質，它們是在相對較近的時期從短母音演變而來的（較古老的長é、長ā、長ō已經改變）。在昆雅語中，長母音é和ō，當被精靈正確發音時，比短母音更緊張、更「閉合」。在當代語言中，只有辛達林語擁有「變音」或前化的u，大致類似於法語June中的u。它部分是o和u的變體，部分源自較古老的雙母音ew、iu。對於這個發音，使用了y（如古英語中）：例如lpg「蛇」、昆雅語leuca，或amon「山」的複數emyn。在剛鐸，這個y通常發音像i。 * * * ' 如同galadhremmin ennorath (p. 238) 「中土的樹織之地」。Remmirath (p. 81) 包含rem「網」，昆雅語rembe，加上mir「珠寶」。 ? 長母音é和ō在西方通用語以及西方通用語使用者對昆雅語名稱的轉寫中，普遍發音為ei和ou，大致類似於英語say no，這可從ei、ou（或其在當代文字中的等效寫法）等拼寫中看出。但這類發音被認為是不正確或粗俗的。它們在夏爾很自然地普遍。因此，那些將yéni unotime「無數漫長歲月」發音成英語中自然的方式（即大致像yainy oonoatimy）的人，其錯誤不會比比爾博、梅里亞達克或皮瑞格林多多少。據說佛羅多展現了極大的「外語發音技巧」。
III6 THE LORD OF THE RINGS Long vowels are usually marked with the ‘acute accent’, as in some varieties of Féanorian script. In Sindarin long vowels in stressed monosyllables are marked with the circumflex, since they tended in such cases to be specially prolonged;' so in din compared with Diuimadan. The use of the circumflex in other languages such as Adtnaic or Dwarvish has no special significance, and is used merely to mark these out as alien tongues (as with the use of k). Final e is never mute or a mere sign of length as in English. To mark this final e it is often (but not consistently) written é. The groups er, ir, ur (finally or before a consonant) are not intended to be pronounced as in English fern, fir, fur, but rather as English air, eer, oor. In Quenya wi, 01, ai and iu, eu, au are diphthongs (that is, pronounced in one syllable). All other pairs of vowels are dissyllabic. This is often dictated by writing ga (Ea), éo, o€. In Sindarin the diphthongs are written ae, at, ei, oe, ui, and au. Other combinations are not diphthongal. The writing of final au as aw is in accordance with English custom, but is actually not uncommon in Féanorian spellings. All these diphthongs’ were ‘falling’ diphthongs, that is stressed on the first element, and composed of the simple vowels run together. Thus az, e7, ol, ut are intended to be pronounced respectively as the vowels in English rye (not ray), grey, boy, ruin; and au (aw) as in loud, how and not as in laud, haw. There is nothing in English closely corresponding to ae, oe, eu; ae and oe may be pronounced as at, o1. STRESS The position of the ‘accent’ or stress is not marked, since in the Eldarin languages concerned its place is determined by the form of the word. In words of two syllables it falls in practically all cases on the first syllable. In longer words it falls on the last syllable but one, where that contains a long vowel, a diphthong, or a vowel followed by two (or more) consonants. Where the last syllable but one contains (as often) a short vowel followed by only one (or no) consonant, the stress falls on the syllable before it, the third from the end. Words of the last form are favoured in the Eldarin languages, especially Quenya. In the following examples the stressed vowel is marked by a capital letter: isIldur, Orome, erEsséa, fEanor, ancAlima, elentAri, dEnethor, pertAnnath, ecthElion, pelArgir, sillvren. Words of the type elentAri ‘star-queen’ seldom occur in Quenya where the vowel is é, a, 6, unless (as in this case) they are compounds; they are commoner with the vowels {, 1, as andUne ‘sunset, west’. 1 So also in Anniin ‘sunset’, Amriin ‘sunrise’, under the influence of the related din ‘west’, and rhiin ‘east’. ? Originally. But iv in Quenya was in the Third Age usually pronounced as a rising diphthong as yu in English yule.
III6 《魔戒》 長母音通常以「尖音符」標記，如同在某些費諾文字變體中。在辛達林語中，重音單音節詞的長母音以揚抑符標記，因為在這種情況下它們往往會特別延長；例如 din 與 Diuimadan 的比較。揚抑符在其他語言（如阿德奈克語或矮人語）中的使用沒有特殊意義，僅用於將這些標記為外來語言（如同使用 k）。結尾的 e 從不發音或僅僅是長度標誌，如同在英語中。為了標記這個結尾的 e，它通常（但不總是）寫作 é。字母組合 er、ir、ur（在詞尾或在子音前）不應像英語 fern、fir、fur 那樣發音，而應像英語 air、eer、oor 那樣發音。在昆雅語中，wi、ol、ai 和 iu、eu、au 是雙母音（即在一個音節中發音）。所有其他母音對都是雙音節的。這通常由書寫 ga (Ea)、éo、o€ 所決定。在辛達林語中，雙母音寫作 ae、at、ei、oe、ui 和 au。其他組合不是雙母音。將詞尾的 au 寫作 aw 符合英語習慣，但在費諾文字拼寫中實際上並非不常見。所有這些雙母音都是「降調」雙母音，即重音落在第一個元素上，由簡單的母音連讀而成。因此，az、e7、ol、ut 分別應發音為英語 rye（不是 ray）、grey、boy、ruin 中的母音；而 au (aw) 則像 loud、how 那樣發音，而不是像 laud、haw 那樣發音。英語中沒有與 ae、oe、eu 密切對應的發音；ae 和 oe 可以發音為 at、o1。重音 「重音」或「語氣重音」的位置沒有標記，因為在相關的精靈語中，其位置由詞的形式決定。在雙音節詞中，重音幾乎總是落在第一個音節上。在較長的詞中，如果倒數第二個音節包含長母音、雙母音或後跟兩個（或更多）子音的母音，則重音落在倒數第二個音節上。如果倒數第二個音節包含（通常如此）一個短母音，且後跟只有一個（或沒有）子音，則重音落在其前一個音節上，即倒數第三個音節。精靈語中偏愛最後一種形式的詞，尤其是昆雅語。在以下範例中，重音母音以大寫字母標記：isIldur、Orome、erEsséa、fEanor、ancAlima、elentAri、dEnethor、pertAnnath、ecthElion、pelArgir、sillvren。像 elentAri「星之后」這類詞在昆雅語中很少出現，如果母音是 é、a、6，除非（像這種情況）它們是複合詞；它們在母音為 {, 1 時更常見，例如 andUne「日落，西方」。1 在 Anniin「日落」、Amriin「日出」中也是如此，受相關的 din「西方」和 rhiin「東方」的影響。2 最初如此。但在第三紀元，昆雅語中的 iv 通常發音為升調雙母音，如同英語 yule 中的 yu。
APPENDIX E III7 They do not occur in Sindarin except in compounds. Note that Sindarin dh, th, ch are single consonants and represent single letters in the original scripts. NOTE In names drawn from other languages than Eldarin the same values for the letters are intended, where not specially described above, except in the case of Dwarvish. In Dwarvish, which did not possess the sounds represented above by th and ch (kh), th and kh are aspirates, that is ¢ or k followed by an h, more or less as in backhand, outhouse. Where z occurs the sound intended is that of English z. gh in the Black Speech and Orkish represents a ‘back spirant’ (related to g as dh to d): as in ghash and agh. The ‘outer’ or Mannish names of the Dwarves have been given Northern forms, but the letter-values are those described. So also in the case of the personal and place-names of Rohan (where they have not been modernized), except that here éa and éo are diphthongs, which may be represented by the ea of English bear, and the eo of Theobald; y is the modified u. The modernized forms are easily recognized and are intended to be pronounced as in English. They are mostly place-names: as Dunharrow (for Dunharg), except Shadowfax and Wormtongue. II WRITING The scripts and letters used in the Third Age were all ultimately of Eldarin origin, and already at that time of great antiquity. They had reached the stage of full alphabetic development, but older modes in which only the consonants were denoted by full letters were still in use. The alphabets were of two main, and in origin independent, kinds: the Tengwar or Tiw, here translated as ‘letters’; and the Certar or Cirth, translated as ‘runes’. The Tengwar were devised for writing with brush or pen, and the squared forms of inscriptions were in their case derivative from the written forms. The Certar were devised and mostly used only for scratched or incised inscriptions. The Tengwar were the more ancient; for they had been developed by the Noldor, the kindred of the Eldar most skilled in such matters, long before their exile. The oldest Eldarin letters, the Tengwar of Rumil, were not used in Middle-earth. The later letters, the Tengwar of Féanor, were largely a new invention, though they owed something to the letters of Rumil. They were brought to Middle-earth by the exiled Noldor, and so became known to the Edain and Numenoreans. In the Third Age their use had spread over much the same area as that in which the Common Speech was known. The Cirth were devised first in Beleriand by the Sindar, and were long used only for inscribing names and brief memorials upon wood or stone. To that origin they owe their angular shapes, very similar to the runes of our times, though they differed from these in details and were wholly different in arrangement. The Cirth in their older and simpler form spread eastward
1118 THE LORD OF THE RINGS in the Second Age, and became known to many peoples, to Men and Dwarves, and even to Orcs, all of whom altered them to suit their purposes and according to their skill or lack of it. One such simple form was still used by the Men of Dale, and a similar one by the Rohirrim. But in Beleriand, before the end of the First Age, the Cirth, partly under the influence of the Tengwar of the Noldor, were rearranged and further developed. Their richest and most ordered form was known as the Alphabet of Daeron, since in Elvish tradition it was said to have been devised by Daeron, the minstrel and loremaster of King Thingol of Doriath. Among the Eldar the Alphabet of Daeron did not develop true cursive forms, since for writing the Elves adopted the Féanorian letters. The Elves of the West indeed for the most part gave up the use of runes altogether. In the country of Eregion, however, the Alphabet of Daeron was maintained in use and passed thence to Moria, where it became the alphabet most favoured by the Dwarves. It remained ever after in use among them and passed with them to the North. Hence in later times it was often called Angerthas Moria or the Long Rune-rows of Moria. As with their speech the Dwarves made use of such scripts as were current and many wrote the Féanorian letters skilfully; but for their own tongue they adhered to the Cirth, and developed written pen-forms from them. @ THE FEANORIAN LETTERS The table shows, in formal book-hand shape, all the letters that were commonly used in the West-lands in the Third Age. The arrangement is the one most usual at the time, and the one in which the letters were then usually recited by name. This script was not in origin an ‘alphabet’: that is, a haphazard series of letters, each with an independent value of its own, recited in a traditional order that has no reference either to their shapes or to their functions.’ It was, rather, a system of consonantal signs, of similar shapes and style, which could be adapted at choice or convenience to represent the consonants of languages observed (or devised) by the Eldar. None of the letters had in itself a fixed value; but certain relations between them were gradually recognized. The system contained twenty-four primary letters, 1-24, arranged in four témar (series), each of which had six tyeller (grades). There were also ‘additional letters’, of which 25—36 are examples. Of these 27 and 29 are the only strictly independent letters; the remainder are modifications of other letters. There was also a number of tehtar (signs) of varied uses. These do not appear in the table.” The primary letters were each formed of a telco (stem) and a luva (bow). ' The only relation in our alphabet that would have appeared intelligible to the Eldar is that between P and B; and their separation from one another, and from F, M, V, would have seemed to them absurd. ? Many of them appear in the examples on the title-page, and in the inscription on p. 50, transcribed on p. 254. They were mainly used to express vowel-sounds, in Quenya usually regarded as modifications of the accompanying consonant; or to express more briefly some of the most frequent consonant combinations.
在第二紀元，《魔戒》中的符文為許多民族所知，包括人類、矮人，甚至半獸人，他們都根據自己的目的、技能或缺乏技能而對其進行了修改。其中一種簡單的形式仍被河谷鎮的人類使用，羅翰人也使用類似的形式。然而，在第一紀元結束之前，貝爾蘭的瑟斯符文，部分受到諾多族騰格瓦字母的影響，被重新排列並進一步發展。其最豐富、最有條理的形式被稱為戴隆字母，因為在精靈傳統中，據說它是由多瑞亞斯國王辛葛的吟遊詩人兼博學者戴隆所創。在精靈族中，戴隆字母並未發展出真正的草書形式，因為精靈們採用了費諾字母進行書寫。西方精靈實際上大多完全放棄了符文的使用。然而，在伊瑞詹地區，戴隆字母仍被保留使用，並從那裡傳到摩瑞亞，成為矮人最喜歡的字母。此後它一直在矮人中沿用，並隨他們傳播到北方。因此，在後來的時代，它常被稱為摩瑞亞安格拉斯或摩瑞亞長符文列。就像他們的語言一樣，矮人也使用了當時流行的文字，許多人熟練地書寫費諾字母；但對於他們自己的語言，他們堅持使用瑟斯符文，並從中發展出書寫筆形。 @ 費諾字母 該表格以正式的書寫體形式，展示了第三紀元西方之地常用到的所有字母。這種排列方式是當時最常見的，也是字母通常按名稱背誦的方式。這種文字最初並非「字母表」：也就是說，它不是一系列隨機的字母，每個字母都有其獨立的價值，並以傳統順序背誦，而這種順序與其形狀或功能無關。相反地，它是一個由形狀和風格相似的輔音符號組成的系統，可以根據選擇或便利性來表示精靈們觀察到（或創造出）的語言中的輔音。這些字母本身都沒有固定的價值；但它們之間某些關係逐漸被認識到。該系統包含二十四個主要字母，編號1-24，分為四個 témar（系列），每個系列有六個 tyeller（等級）。還有「附加字母」，其中25-36是例子。其中27和29是唯一嚴格獨立的字母；其餘的都是其他字母的變體。還有一些用途各異的 tehtar（符號）。這些符號沒有出現在表格中。主要字母都由一個 telco（詞幹）和一個 luva（弓）組成。在我們的字母表中，唯一對精靈來說顯得可理解的關係是P和B之間；而它們彼此之間以及與F、M、V的分離，對他們來說會顯得荒謬。其中許多出現在扉頁的例子中，以及第50頁的銘文（轉錄於第254頁）。它們主要用於表示元音，在昆雅語中通常被視為伴隨輔音的變體；或更簡潔地表示一些最常見的輔音組合。
IIIQ APPENDIX E THE TENGWAR ad 8 @ & 8 ala o vT it So a a Tr nm
IIIQ 附錄 E 騰格瓦 ad 8 @ & 8 ala o vT it So a a Tr nm
II20 THE LORD OF THE RINGS The forms seen in I—4 were regarded as normal. The stem could be raised, as in 9-16; or reduced, as in 17-24. The bow could be open, as in Series I and III; or closed, as in IJ and IV; and in either case it could be doubled, as e.g. in 5-8. The theoretic freedom of application had in the Third Age been modified by custom to this extent that Series I was generally applied to the dental or t-series (tincotéma), and II to the labials or p-series (parmatéma). The application of Series III and IV varied according to the requirements of different languages. In languages like the Westron, which made much use of consonants! such as our ch, j, sh, Series III was usually applied to these; in which case Series IV was applied to the normal k-series (calmatéma). In Quenya, which possessed besides the calmatéma both a palatal series (tyelpetéma) and a labialized series (quessetéma), the palatals were represented by a Féanorian diacritic denoting ‘following y’ (usually two underposed dots), while Series IV was a kw-series. Within these general applications the following relations were also commonly observed. The normal letters, Grade I, were applied to the ‘voiceless stops’: t, p, k, etc. The doubling of the bow indicated the addition of ‘voice’: thus if 1, 2, 3, 4=2, p, ch, k (or t, p, k, Rw) then 5, 6, 7, 8=d, b, j, g (or d, b, g, gw). The raising of the stem indicated the opening of the consonant to a ‘spirant’: thus assuming the above values for Grade 1, Grade 3 (9—12)=th, fs sh, ch (or th, f, kh, khw/hw), and Grade 4 (13-16)=dh, v, zh, gh (or dh, v, gh, ghw/w). The original Féanorian system also possessed a grade with extended stems, both above and below the line. These usually represented aspirated consonants (e.g. tth, pth, kth), but might represent other consonantal variations required. They were not needed in the languages of the Third Age that used this script; but the extended forms were much used as variants (more clearly distinguished from Grade 1) of Grades 3 and 4. Grade 5 (17-20) was usually applied to the nasal consonants: thus 17 and I8 were the most common signs for m and m. According to the principle observed above, Grade 6 should then have represented the voiceless nasals; but since such sounds (exemplified by Welsh mh or ancient English hn) were of very rare occurrence in the languages concerned, Grade 6 (21-24) was most often used for the weakest or ‘semi-vocalic’ consonants of each series. It consisted of the smallest and simplest shapes among the primary letters. Thus 21 was often used for a weak (untrilled) r, originally occurring in Quenya and regarded in the system of that language as the weakest consonant of the tincotéma; 22 was widely used for w; where Series III was used as a palatal series 23 was commonly used as consonantal y.” Since some of the consonants of Grade 4 tended to become weaker in | The representation of the sounds here is the same as that employed in transcription and described above, except that here ch represents the ch in English church; j represents the sound of English j, and zh the sound heard in azure and occasion. ? The inscription on the West-gate of Moria gives an example of a mode, used for the spelling of Sindarin, in which Grade 6 represented the simple nasals, but Grade 5 represented the double or long nasals much used in Sindarin: 17=nn, but 21=n.
《魔戒》第二十章。在1-4中看到的形態被視為常規。筆畫可以升高，如9-16所示；或縮短，如17-24所示。弓形可以開放，如系列I和III所示；或閉合，如IJ和IV所示；在任何一種情況下，它都可以加倍，例如5-8所示。在第三紀元，理論上的應用自由度已被習俗修改，以至於系列I通常應用於齒音或t系列（tincotéma），而系列II則應用於唇音或p系列（parmatéma）。系列III和IV的應用則根據不同語言的要求而異。在像西方語（Westron）這樣大量使用輔音（如我們的ch、j、sh）的語言中，系列III通常應用於這些輔音；在這種情況下，系列IV則應用於正常的k系列（calmatéma）。在昆雅語（Quenya）中，除了calmatéma之外，還擁有一個腭音系列（tyelpetéma）和一個唇化系列（quessetéma），腭音由一個費諾式（Féanorian）變音符號表示，意為「後接y」（通常是兩個下置點），而系列IV則是一個kw系列。在這些普遍應用中，以下關係也常被觀察到。正常字母，即等級I，應用於「清塞音」：t、p、k等。弓形的加倍表示「濁音」的添加：因此，如果1、2、3、4等於t、p、ch、k（或t、p、k、Rw），那麼5、6、7、8等於d、b、j、g（或d、b、g、gw）。筆畫的升高表示輔音變為「擦音」：因此，假設等級1的上述值，等級3（9-12）等於th、f、sh、ch（或th、f、kh、khw/hw），而等級4（13-16）等於dh、v、zh、gh（或dh、v、gh、ghw/w）。原始的費諾式系統還擁有一種帶有延伸筆畫的等級，位於線的上方和下方。這些通常代表送氣輔音（例如tth、pth、kth），但也可能代表所需的其他輔音變體。在第三紀元使用這種文字的語言中，它們並不需要；但延伸形式被大量用作等級3和4的變體（與等級1區分得更清楚）。等級5（17-20）通常應用於鼻輔音：因此17和18是m和m最常見的符號。根據上述原則，等級6應該代表清鼻音；但由於此類音（例如威爾斯語的mh或古英語的hn）在相關語言中極為罕見，等級6（21-24）最常用於每個系列中最弱或「半元音」的輔音。它由基本字母中最微小和最簡單的形狀組成。因此，21常用於弱（非顫音）r，最初出現在昆雅語中，並在該語言系統中被視為tincotéma中最弱的輔音；22廣泛用於w；當系列III用作腭音系列時，23通常用作輔音y。由於等級4的一些輔音傾向於變弱，這裡的發音表示與轉錄中使用的和上述描述的相同，不同之處在於這裡的ch代表英語church中的ch；j代表英語j的發音，zh代表azure和occasion中聽到的發音。莫瑞亞西門上的銘文提供了一個用於辛達林語拼寫的模式範例，其中等級6代表簡單鼻音，但等級5代表辛達林語中常用的雙鼻音或長鼻音：17=nn，但21=n。