Glǽmscrafu - Oilima Markirya II

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Man kiluva kirya ninqe
oilima ailinello lúte,
níve qímari ringa ambar
ve maiwin qaine?

Man tiruva kirya ninqe
valkane wilwarindon
lúnelinqe vear
tinwelindon talalínen,
vea falastane,
falma pustane,
rámali tíne
kalma histane?

Man tenuva súru laustane
taurelasselindon,
ondoli losse karkane
silda-ránar,
minga-ránar,
lanta-ránar,
ve kaivo-kalma;
húro ulmula,
mandu túma?

Man kiluva lómi sangane,
telume lungane
tollalinta ruste,
vea qalume,
mandu yáme,
aira móre ala tinwi
lante no lanta-mindon?

Man tiruva rusta kirya
laiqa ondolissen
nu karne vaiya,
úri nienaite híse
píke assari silde
óresse oilima?

Hui oilima man kiluva,
hui oilimaite?

Who shall see a white ship
leave the last shore,
the pale phantoms in her cold bosom
like gulls wailing?

Who shall heed a white ship,
vague as a butterfly,
in the flowing sea
on wings like stars,
the sea surging,
the foam blowing,
the wings shining,
the light fading?

Who shall hear the wind roaring
like leaves of forests;
the white rocks snarling
in the moon gleaming,
in the moon waning
in the moon falling
a corpse-candle;
the storm mumbling,
the abyss moving?

Who shall see the clouds gather,
the heavens bending
upon crumbling hills,
the sea heaving,
the abyss yawning,
the old darkness
beyond the stars falling
upon fallen towers?

Who shall heed a broken ship
on the green rocks
under red skies,
a bleared sun blinking
on bones gleaming
in the last morning?

Who shall see the last evening?

Commentary

In 1931, J. R. R. Tolkien made a conference touching about his invention of languages, and claiming that this seemingly curious hobby was a peculiar form of art. The text, a very important one to get what his imaginary languages were to him, was published in the collection The Monsters and the Critics with the title A Secret Vice. Tolkien produced several poems as examples, three in Qenya and one in Noldorin; Oilima Markirya “The Last Ark” is one of these poems. Tolkien must have been cared for that poem for he came back to it repeatedly; as a consequence there are several quite different versions (their development has been studied in Parma Eldalamberon n° 16), although the content remains more or less the same. Included in the main text is the one we called Oilima Markirya II; we reproduce it here with its author’s own translation.

The text is transcribed in sarati or “letters of Rúmil”, written vertically from top to bottom and from left to right. The signs are used according to Tolkien’s valuation for Quenya. We made use of Måns Björkman Berg’s typeface Sarati Eldamar. Open this mode in Glaemscribe