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MERP Campaign Guide 2 - Elvish Dictionary and Tolkien Glossary

MERP Campaign Guide 2 - Elvish Dictionary and Tolkien Glossary

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240 views66 pages

MERP Campaign Guide 2 - Elvish Dictionary and Tolkien Glossary

MERP Campaign Guide 2 - Elvish Dictionary and Tolkien Glossary

Uploaded by

clive clivetablet
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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oe on AN Ao Y An Elvish Dictionary and Glossary of Terms from J.R.R. ee: Toikien’s THE HOBBIT and THE LORD OF THE RINGS for icc en uLO an meen came 1.1. Eee MUIDDLE-EARTH ADVENTURE GUIDEBOOK II” TABLE OF CONTENTS 1.0 Guidelines. 2.0 Introduction. 3.0 An Elvish Dictionary. 3.1 NOTES OW PRONNEIATION 3.2: Norts ov ELvist GRANaear 3.3: TRANSLATIONS PROM THE ELDARIN ToNcues 3.4 TRANSLATIONS TO QUENYA AND SINDARIN........ 4.0. A Glossary of Terms... CREDITS Developer: Jessica M. Ney Adliional Material: Pee Fenlon | Concept: Pete Fenlon, S. Coleman Chariton Cover Art: Angus McBride Interior Art: Liz Danforth, Darrell Midge Project Specific Contributions: Series Editor: Jessica M. Ney; Content Editor: Peter C. Fenlon; Pagomaking: Wil- liam Hyde; Layout: Eileen Smith, Cheryl Kief, Andrew Christensen, Edward Dinwiddie, Larry Brook; Cover Graphics: Haines Sprunt; Editorial Contvibuaions: Cole- ‘man Charlton, Bileen Si Special Contributions: Steven Bouton, Jett Grimm. ICE MANAGEMENT — Production Manager: Tery Arbor: Soler & Cusomer Service Manager: Deine Begictang, Art Diesior~ Richard Briton; Eating & Developmen’ Manager’ Coleman Charen President: Peter Fenlon; CEO: Bruce Neslinger, Comroller: Kur Resnusen, ICE STAFP — Licensing: Kurt Fischer, Markering Corton: ohn Morgan, Prin Baye BillDowas, Production pervs Suzanne Young. ‘Ard Graphics Saf Lydia Cor, Hales Sprant. Eine & Develop inert Sia Terry Anuhor Kevin Barret, Rob Bel Pete Fevlon, Leo Label, Jessica Ney, John Kuerner, Production Sif Lao Dell, deen Smyth, Andrew Christensen, Edvard Dinwile, Willam Hyde, “ennifer Kline, Pasla Peters Kevin Williams, Operas Sf Mare Rainey: Sales & Customer Service Saft John Drunken, Hei ects, Becky Pope, Shipping Sua: John “Fra” Brecersige, Rober, "Crean" Crenshaw, David "Big Dave” Johnson, Corey “EU” Wi Copyright 1989 © TOLKIEN ENTERPRISES, a division of ELAN MERCHANDISING, Inc., Berkeley, CA. Middle-carth Adventure Guidebook Il, The Hobbit, and The Lord of the Rings, ané all characters and places therein, are trademark properties of TOLKIEN ENTERPRISES. Produced and distributed by IRON CROWN ENTERPRISES Inc, P.O. Box 1605, Charlottesville, VA 22900. Fit US. Eaton, 1989, Stock #210 ISBN 1-85806-078-2 2 Guidelines 1.0 GUIDELINES Fantasy roleplaying (FRP) is akin to a living novel where the players are the main characters. Everyone combines to write a story which is never short of adventure, They help create a new land and strange new tales in which the characters arc forever immortalized. Guidebook modules are intended as aids for GMs wishing to integrate J.R.R. Tolkien's Middle-carth into their fantasy role playing game, Essentially each module is a handy reference unit ‘specifically oriented toward major fantasy role playing systems and the ongoing Middle-earth series from ICE, Each focuses more closely on concepts or bodies of knowledge useful to the role player in Middle-earth and is intended to supplement the general coverage provided by adventures detailed in campaignandadven: ture modules. Guidebook modules have statistical information based onthe Middle-earth Role Playing (MERP) and Rolemaster (RM) fantasy systems. ‘The modules are, however, adaptable for use with most major role playing games. Creative guidelines, not absolutes, are emphasized. Each module is based on extensive research and attempts 10 ‘meet the high standards associated with the Tolkien legacy. Ra- tional linguistic, cultural, and geological data are employed. Inter pretive material has been included with great care, and fits into defined patterns and schemes. ICE does not intend ittobe the sole ‘orproper view; instead, we hope to givethe reader the thrust of the creative processes and the character of the given body of material. Remember that the ultimate sources of information arc the works of Professor J.R.R. Tolkien, Posthumous publications eadited by his son Christopher shed additional light on the world of Middle-earth. This module is derived from The Hobbit and The Lord of the Rings, although it has been developed so thet no conflict exists with any ofthe other sources. 2.0 INTRODUCTION In writing The Lord of the Rings, LRR. Tolkien plotted the phases of the moon over Endor during the years of T.A. 3018 and 3019 to be sure that Sam Gamgee's surprise at seeing the new ‘moonaftcr the Fellowship’s stay in Lérion was valid. The burden ‘ofa similar attention o detail alls on the GM’s shoulders when he or she seeks to creat the sense of reality vital to an FRP carmpaign, setin Middle-earth. The glossary of terms and the Blvish diction- ary presented in this guidebook module provide materials to substantially ease this task. 3.0 AN ELVISH DICTIONARY Many a traveller bent tothe aims of the Free Peoples of Endor longs to take his ease at Rivendell, listening to Elvish minstrels making sweet music in the Hall of Fire, While the Silvan mage ‘wishes to return home to feast with the woodland king under the noble boughs of Greenwood the Great. And the spent and tired ‘warrior hopes for healing beneath the blossoming malloms of Lothidrien in spring. The following materials aid the GM in providing PCs with authentic experiences among the Eldar and throughout the lands influenced by Elvish thought and language. ‘The section contains notes on Elvish pronunciation and gram- mar and an Elvish dictionary, divided into two subsections: the first giving the meaning of Sindarin and Quenya words and syllables in English, the second translating English words into the Eldarin tongues. Used together, the subsections allow the GM to create authentic names for the Eldar and their sites, to sprinkle the speech of Elven Lords with phrases from Quenya or Sindarin, and to decipher the meaning of terms such as Annon-in-Gelygh and Rammas Echor. 3.1 NOTES ON PRONUNCIATION ‘The following textis intended asa guide to the correct pronun- ciation of Eldarin words. In the interest of accuracy, we have ‘derived the material from Tolkien's notes on the subject on pages 487-492 in The Lord of the Rings. More complete information on the evolution of phonemes from the primeval Elvish rongue into ‘Quenya and Sindarin is available in Appendix Eof the same work. Consonanrs C always has the sound of the kin kin, never the sin simple; Celebrimboris pronounced “Kelebrimbor”, not“Selebrim. bor’. Sometimes (kelvar, kalina),k is used in spelling. ‘CH represents the ch in Scottish Zach or German bach, never the ‘chin English chime, lurch, Thus, echant, eciuir. DH the voiced or “soft” sh of English; that is, the chin shese, not the th in though, Thus, dannedh, galadie, hahodh. F the fin father, except finally, where it represents the v of English of. Thus, Nindalf, Fladrif. G the g in English gone, never that in regimen: Region Eregion are notpronounced like English region ("Ree-} but like rega. ('Reg-ee-on"); and the first syllable of girth is like the English gear, not jeer. HH the hin horse, behest if standing alone with no other conso- nants. The Quenya ht is like the cht of German ach. Thus, hahta, tehta, obuar. 1 in Sindarin only, the consonantal sound of y in English yonder, ifat the beginning of a word before another vowel Thus, lavas. L___similarto the /in English fimb, It is “palatalized” between ¢ oréand a consonant. The Eldar would transcribe English fell and till s feol and tol. NG the mg in linger, except at the end of a word when it sounds like the English bring. The latter sound occurred initially in Quenya in earlier ages, but evolved to n by the Third Age. ‘Thus, Gnoldo became Noldo, PH thef'infish. Ttis found (1) when the fphoneme occurs at theend of a word, as in niph “white”; (2) where it is related to or derived from p, as in /-Pheriannath “the Halflings” Gerian), and (3) in the middle of some words where it represents a long ff (from pp) asin ephed “outer fence” QU represents cw, acombination common in Quenya, although ‘onexistant in Sindarin, R___alwaysa tilled r the sound isn lost before consonants, as imthe English dart, The back or uvular r used by Orcs and some Dwarves was distasteful to the Eldar 'S the voiceless in sew and cease. The voiced sin reason does not occur in the Quenya and Sindarin ofthe Third Age. TH voiceless th in the English thought and thorough. In Quenya, this evolved to. when spoken. Thus, . sil. . thi, “shine” similar to the rin the English tune. Thus, zyar, tyulma, the ¥ of value, but not used at the end of a word. the w in warm. HW is voiceless asin white in Quenya, represents the yin yard. In Sindarin, yisavowel. HY signifies the sound in the English hue and human, Consonants written twice, such as, 8, mm, are pronounced Jong. Armor has the long n in the English unnumbered, not the short m in unaware and many, Double consonants at the end of words with more than one syllable were usually shortened. Thus, Rohan evolved from Rachann which derived from Rochand.

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