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Tolkien's glossopoeia has two temporal dimensions: the internal (fictional) timeline of events in Middle-earth described in The Silmarillion and other writings, and the external timeline of Tolkien's own life during which he often revised and refined his languages and their fictional history. Tolkien scholars have published a substantial volume ...
The Elvish languages are a family of several related languages and dialects. In 1937, Tolkien drafted the Lhammas and The Etymologies, both edited and published in the 1987 The Lost Road and Other Writings. They depict a tree of languages analogous to that of the Indo-European languages that Tolkien knew as a philologist. [2] [6]
Tolkien developed a complex internal history of characters to speak his Elvish languages in their own fictional universe. He felt that his languages changed and developed over time, as did the historical languages which he studied professionally—not in a vacuum, but as a result of the migrations and interactions of the peoples who spoke them.
The languages were the first thing Tolkien created for his mythos, starting with what he originally called "Qenya", the first primitive form of Elvish. This was later called Quenya (High-elven) and is one of the two most complete of Tolkien's languages (the other being Sindarin , or Grey-elven).
The classical world has been defined as "the history, literature, myths, philosophy, and society of ancient Greece and Rome". [5] It has been argued that since Tolkien's mythology for England was largely medieval , he needed a classical setting to provide a suitable impression of historical depth .
Further, The Silmarillion tells of the creation and fall of the Elves, as Genesis tells of the creation and fall of Man. [36] As with all of Tolkien's works, The Silmarillion allows room for later Christian history, and one version of Tolkien's drafts even has Finrod, a character in The Silmarillion, speculating on the necessity of Eru ...
Language and grammar for Tolkien was a matter of aesthetics and euphony, and Quenya in particular was designed from "phonaesthetic" considerations; it was intended as an "Elven-latin", and was phonologically based on Latin, with ingredients from Finnish, Welsh, English, and Greek. [T 14] Tolkien considered languages inseparable from the ...
It would work, he explains, if people could recognise different styles in language, somehow sense the depth of history in words, get some degree of meaning just from the sounds of words, and even judge some sound combinations beautiful. Tolkien, he writes, believed that "untranslated elvish would do a job that English could not". [6]