On 3/21/2017 5:37 PM, Jeremy Silver wrote:
On Tuesday 21 Mar 2017 14:41:47 SuStel wrote:
On 3/21/2017 1:56 PM, Jeremy Silver wrote:
I too have been having trouble finding a good way to express sand and
ash and bribe for example. I think describing ground-up rock confuses
people if trying to talk about sand.
Hmm. *nagh pullu'pu'bogh* is actually a pretty decent substitute for
/sand./
True, but it's also an overly complicated term to use for poetic or lyrical use.
*rIy'o'* 'oH be' pong'e'. 'ej naghDaq pullu'pu'bogh mI' ghaH.
Depends on how you use it. If you're trying to fill the same single syllable as /sand,/ then yes, it's clumsy.
Don't think so, though something about that is nagging me. I'm also
thinking you might do something with *Don* and maybe *vel**,* but it's
clumsy.
As parallel things don't cross, would that be something based on {DonHa'} or the like?
Of course. *DonHa'* has *Don* in it. I wasn't spelling out how it might be used.
Do we have a usual way of expressing the concept of "beyond" like:
On the other side of the mountain, there is a prison kind of thing?
or Past the crossroads someone did something?
*HuD latlh Dop retlhDaq bIghHa' tu'lu'*/in the area next to the
mountain's other side there is a prison./ But that doesn't cover phrases
like /far over the Misty Mountains cold,/ where the thing you're talking
about isn't immediately next to the other side of the mountain. You
might play with something like *pa' Hop* /faraway thereabouts. /This
starts to run into "sometimes inaccurate but never approximate" territory.
Thanks for the response and identifying the reference. Why do I get the feeling I'm not the only one to try translating that poem?
I haven't tried that one, but I've done a lot of other Tolkien on this list. I've gone more for the Anglo-Saxon-esque poetry and the dramatic scenes. -- SuStel http://trimboli.name