The Manuscript 1. Tolkien’s original calligraphic manuscript for the poem, “Namárie” or Gal- adriel’s Lament, 13 lines and two lines of title in black and red calligraphy on one page. Used as the dustwrapper design for the front cover of The Road Goes Ever On . 2. Tolkien’s original calligraphic manuscript for the poem, “A Elbereth Gil- thoniel”, five lines plus a two lines title in black and red calligraphy on one page. Used as the dustwrapper design for the rear cover of The Road Goes Ever On . 3. The original holograph manuscript for Tolkien’s Notes and Translations section: 13 pages on eight leaves of closely written autograph manuscript (ap- prox 4000 words in total), plus two pages in facsimile providing a translation and commentary on the two Elvish poems.
‘Namárië’, which appears on p.394 of The Fellowship of the Ring , where
it is sung by Galadriel to Frodo as he leaves Lothórien, is her wistful hope that he will reach the Undying Lands of the West, from which she was banished years ago. It is the longest piece that Tolkien wrote in Quenya, the language of the clans of High Elves, the Noldor and the Vanyar, who left Middle Earth for Eldarmar. It is symbolic of the high status of the Elves, the first born race of Middle Earth. By the Third Age, the time of the setting of The Lord of the Rings , Quenya had become an archaic language learned for academic purpos- es (Tolkien referred to it as Elf-latin). It is Galadriel’s native tongue. Tolkien’s commentary gives a literal translation into English and also some context to the song’s composition in the history of Middle Earth, “After the destruction of the Two Trees, and the flight from Valinor of the revolting Eldar [high elves], Varda lifted up her hands, in obedience to the decree of Manwe, and summoned up the dark shadows which engulfed the shores and
the mountains and last of all the fana (figure) of Varda, with her hands turned eastward in rejection, standing white upon Oilosse.” The importance of Galadriel’s part in this, “She was the last survivor of the princes and queens who had led the revolting Noldor to exile in Middle-earth. After the overthrow of Morgoth at the end of the First Age a ban was set upon her return, and she had replied proudly that she had not wish to do so… In the event, after the fall of Sauron, in reward for all that she had done to oppose him, but above all for her rejection of the Ring when it came within her power, the ban was lifted, and she returned over the Sea, as is told at the end of The Lord of the Rings.” There is a section of technical instruction about metre, “The metre is iambic, in lines of 5 or 6 feet each. The first part, lines 1-7, is in alternating lines: 5, 6, 5, 6, etc. The separate line 8 has also 5 feet...”
And a glossary, “Varda: ‘the Exalted’, greatest of the queens of the Valar… Laurë is translated ‘gold’ but it was not a metallic word... Calaciryo. Gen. of Cala-cirya, “light-cleft,” the great ravine in the mountains of Valinor...” etc. ‘A Elbereth Gilthoniel’ appears in full on p.250 of The Fellowship of the Ring . It is heard by Frodo and Bilbo as they leave the Elven Hall of Fire. Bilbo alludes to its meaning, “It is a song to Elbereth [or Varda]... They will sing that, and other songs of the Blessed Realm, many times tonight.”, and later “I’ll take a walk, I think, and look at the stars of Elbereth in the garden...”. It is essentially a hymn written in Sindarin, the language of the Grey Elves and the most widely spoken Elvish language during the Third Age, and is woven throughout The Lord of the Rings , appearing several times in differ- ent forms. It is notable that until this translation and notes, Tolkien leaves the meaning deliberately opaque, possibly to give the impression of mystery about Middle Earth or to encourage the reader to enjoy the phonics of the language for its own sake, something Tolkien set a great store by.
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