48. Author's Notes
My sheer destruction is certain. Three time and four time happy those Danaans were who died then in wide Troy land, bringing favor to the sons of Atreus, as I wish I too had died at that time and met my destiny on the day when the greatest number of Trojans threw their bronze-headed weapons over me, over the body of perished Achilles, and I would have had my rites and the Acheans given me glory. Now it is by a dismal death I must be taken.
The Odyssey, Book Five, lines 305-312
The protean man, that is Odysseus: he is the father crying in the embrace of his son; the son coldly deceiving and testing his father; the husband spurning an amorous nymph’s gift of immortality to return to the bed of his wife; the lusty lover whose comrades must force him from yet another woman’s bed; the man pretending insanity to escape his military obligation; the wise military leader and the soldier of exceptional strength and valor; the liar, as some would call him; the storyteller, the maker of fictions, his admirers say; sailor, navigator, shipbuilder; hated by many, respected by most; doubted, suspected, not exactly liked except by women.
pp. 1-2, Odysseus: A Life, Charles Rowan Beye
First things first. The word adraefan – or, as it should be spelled, adræfan – is an Old English verb: to exile. The noun of exile is actually wrecca, though this is rarely used in my work. The reason for this is because adraefan is more euphonic than wrecca, I feel, and Tolkien often emphasized the linguistic aesthetic in his work. Also, it is naturally Old English rather than the Sindarin equivalent (egledhron, pl.) since one of the elves’ punishments was to never again speak their native tongue – and so we can assume they adopted the Mannish word for exile early on and used it ever since.
The three elves are original characters.
In Radagast the Brown, some of you may have caught that Gwaihir is away at Zirakzigil rescuing Gandalf after his fight with the balrog.
In Honor Rekindled, the paragraph describing Boromir’s “soft aspect” is directly inspired by an identical passage in Michael Ondaatje’s The English Patient, where the author is describing Caravaggio – a previously clean-cut, immaculate gentleman, who, after years of war, begins to become quite shabby in his beard/hair/attire. And this grey shabbiness is pleasing. I believe Ondaatje describes Caravaggio as being a “softer human being.”
In Chorus III (Dream Prologue), the areas east of Rhûn are original inventions. Ceosolstów is Old English for “sand place.” Rinanholt is Old English for “wet forest.” Desert and rainforest. Get it? Hahaha!
In The March to Another Battle, the song used is a Sindarin translation of a song sung in the Peter Jackson films. It can be found at this website. Fæstefot’s name is Old English for “fast foot.” He is an original… horse.
In Chorus IV (Golradir), First One is revealed to be Golradir, the son of Oropher. While Golradir is an original character, Oropher is not. Tolkien is somewhat contradictory on Oropher. All we know for certain was that he was a royal elf who died with two-thirds of his army on Dagorlad in the Second Age. Some sources say he was the father of Thranduil, and thus Thranduil inherited the Kingship of Mirkwood from him. This would make First One (Golradir) the uncle of Legolas.
In Mourning, the Easterling scout is speaking Old German. Or Anglo-Saxon. I honestly can’t remember anymore, and if any linguists out there recognized it, please let me know! All I recall is that ubil-tojers was “evildoers.”
In The Great Tree by Moonlight, Radagast says (more or less) the same thing in both Sindarin and the Black Tongue. In either language, he should be saying: “Sleep, Great Tree, sleep! And let us rest in your branches, for we need safety!” Of course, I’m no Sindarin expert, and so it’s a very rudimentary transliteration, so that an actual elf would probably understand, “Rest, Tree Big, rest! And we rest in branches your, desire security.” But the Black Tongue transliteration is even worse. He’s literally saying: “Accept us safety sleep! Let us slip you!” The Great Tree is an original creation.
In Chorus V (Prayer Answered), the banter between Manwë and Varda is inspired by Christopher Logue’s poetry in War Music, where Zeus and Hera banter in much the same way. If any are curious, Logue’s original back and forth, arguing-between-gods, goes like this:
Picking a cotton from his sleeve: "Pa-pa," Athene said,
"This is not fairyland. The Trojans swore an oath
To which You put Your voice."
"I did not."
"Father, You did. All Heaven heard You. Ask the Sea."
"I definitely did not."
"Did-did-did-did - and no returns."
-p. 125, War Music, Christopher Logue
In Imrahil and the Guard, the characters of Amlaith, Ragnor and Eomund are original characters. See The Laughing Oliphaunt for more of them. Also, all the pubs – The Tree and Tavern, The Skulking Squire, The Laughing Oliphaunt, and The Rose Garden – are original creations. The Rose Garden is based on a similar pub in Oxford, England.
In Long Day and Longer Night, Delhir and Dalhir are nonsense names. The Black Tongue of Mordor that Boromir hears is a transliteration of the following: Hungry, madman? Stinking stomach, drink all, piss-pig. We hurt the elf, [he is] alone and naked. Now scream for us, piss-pig! (English-Black Tongue dictionary found here.) Most Mordor dialogues are variations of the previous quotation; though, in Coronation, they are repeating the words of Faramir.
In An Unexpected Arrival, Rúnyafin is Sindarin for “red-haired,” Innwen for “wise woman,” and Innrod for “wise stone.” They are original characters, as are Poppy and Azaelia, featured in the next chapter.
In The Reunion of Two Friends, Third One’s name is revealed to be Amdír. Amdír is, indeed, a very minor Tolkien character – an elf who purportedly died during the Siege of Barad-dûr in the Second Age. We can assume, therefore, that Amdír’s destiny was to die in Barad-dûr.
From Valanya Market, Valanya is Sindarin for “Powers-day,” or the Gondorian equivalent of Sunday. (Or, said in Sean Bean’s accent, Soondeh.) What Faramir can’t recall is that Anaranë could mean “to the Sun” – a construction from the Sindarin Anar (Sun) and an (to) with the usual feminine –ë ending. Ana is an original character. She is the Mary Sue Representative for this fic.
In The Children’s Perspective, Aragorn and Arwen’s (rather butchered, but thankfully short) Sindarin dialogue is:
Arwen: What joy, Estel, what joy.
Aragorn: This be our peace, my love.
In Boromir the Mad, Rómendacil the Third refers to the two kings of Gondor who successfully defeated the Easterling wainriders in the early Third Age - called Rómendacil the First and Second, respectively.
In Saruman and Degeneration, haelfdon is an original term – a construction from Old English – which is used here as a racial slur in reference to hobbits.
In Ill News at Bree, Frodo’s similarities to a donkey – according to Radagast – are homage to another fic.
In the Final Chorus (Another Beginning), the phrase, If ever there was a man born for pain, it was he, is Odysseus’ typical epithet.
Inadvertently, I have no doubt been influenced by other writers in the fandom – in particular, PlasticChevy’s The Captain and the King played a major role in inspiring me to write fanfiction in a world which I had dubbed sacrosanct. Also, the poetry featured in the Choruses was directly influenced by Christopher Logue’s work in War Music and All Day Permanent Red – mostly in style and structure, though also in tone and themes of war, hubris, fate and manipulative gods.
Thank you to all those who had the patience to read and comment when this was still in-progress – it has no doubt become a better story thanks to all of your thoughtful reviews and insight!
This is a work of fan fiction, written because the author has an abiding love for the works of J R R Tolkien. The characters, settings, places, and languages used in this work are the property of the Tolkien Estate, Tolkien Enterprises, and possibly New Line Cinema, except for certain original characters who belong to the author of the said work. The author will not receive any money or other remuneration for presenting the work on this archive site. The work is the intellectual property of the author, is available solely for the enjoyment of Henneth Annûn Story Archive readers, and may not be copied or redistributed by any means without the explicit written consent of the author.