Tengwar Textbook
1x{$y6E 1zR|1w~Nz
Third Edition
January 2003
Version 1.00
Chris McKay
Table of Contents
Introduction - by Dan Smith...........................................................................................................................2
Quenya
Introduction ....................................................................................................................................................3
Quenya ...........................................................................................................................................................4
Quenya Punctuation .......................................................................................................................................6
Sindarin
Introduction ....................................................................................................................................................7
Classical Mode ...............................................................................................................................................8
Mode of Gondor ...........................................................................................................................................10
Mode of Beleriand .......................................................................................................................................12
Full Mode of Gondor ...................................................................................................................................14
Sindarin Punctuation ....................................................................................................................................16
English
Overview ......................................................................................................................................................17
Original Mode ..............................................................................................................................................18
CJRTs’ Mode ...............................................................................................................................................20
Common Mode ............................................................................................................................................22
English Mode of Beleriand (Style One).......................................................................................................24
English Mode of Beleriand (Style Two) ......................................................................................................26
English Punctuation .....................................................................................................................................28
Other Languages
Black Speech/Orkish ....................................................................................................................................29
Old English ..................................................................................................................................................31
Old English Mode Details ............................................................................................................................33
Tengwar Numerals .......................................................................................................................................35
Guidelines for Writing .................................................................................................................................36
The most current form of this document, along with supplementary materials can always be found at:
http://www.geocities.com/tengwar2001/
Check in occasionally to find the latest material, usually every few months.
2
Introduction
Decades ago, when J. R. R. Tolkien wrote his fantasy book series: The Hobbit and The Lord of the Rings, he
described a race of Elves possessing a rich history, language and culture. Not all Elves spoke the same
language. The most important languages were: Quenya (the language of the High-Elves) and Sindarin (the
language of the Grey-Elves). Early in their history they devised an alphabet for writing their languages. The
oldest Elvish alphabet was the Tengwar of Rúmil. Later Fëanor of the Noldor, inspired by the alphabet of
Rúmil, created a revised writing system. The Fëanorean alphabet was designed to be an orderly phonetic writing
system for use with pen or brush.
Consonant sounds were represented by letters called: Tengwar. There are 24 primary Tengwar letters. The
letters were organized into four series or Témar (shown as vertical columns on the next page). Each series was
used to represent sounds created by different parts of the mouth. Series I and II were almost always used for
Dental and Labial sounds. Series III was generally used for either Palatal or Velar sounds and series IV for
either Velar or Labiovelar sounds, depending on the phonology of the language represented. These four series
were further broken down into six grades or Tyeller (shown as horizontal rows on the next page). Each grade
was used to represent sounds created by different ways that air flows through the mouth and nose. Grade 1 and
2 were used for voiceless and voiced Plosives. Grade 3 and 4 were used for voiceless and voiced Fricatives.
Grade 5 was used for Nasals. Grade 6 was used for Semi-vowel consonants. Each Tengwar letter was assigned
a phonetic value determined by its position in this grid. People speaking different languages would often re-
define this grid, so only a few of the letters had a fixed phonetic value.
All of the primary letters were composed of (at least) two elements: a vertical stem or Telco (representing air)
and a curved bow or Lúva (representing voice). There were also numerous additional letters that supplemented
the standard Tengwar primary letters. These additional letters did not necessarily follow any symbol
conventions.
In the earliest forms of the Tengwar, vowel sounds were represented by symbols called: Tehtar. The Tehtar
symbols were placed above and below (and sometimes inside) the Tengwar letters. There were five standard
Tehtar symbols, representing the five most commonly used vowel sounds (a, e, i, o & u). They were most
frequently placed above the Tengwar letters. (Tolkien used this style when creating most of his Quenya,
Sindarin, and English language Tengwar inscriptions.) But both the number of vowel symbols used, and where
they were placed depended largely on the preferences of the people using this alphabet.
Later forms of Tengwar used additional letters to represent individual vowel sounds. This full form was
developed by the Grey Elves living in Beleriand, and was therefore referred to as the Mode of Beleriand.
Tengwar became a very flexible writing system that was easily adapted by many different races to their
languages. Unfortunately, since it was so flexible it was possible to have several different versions of it for each
and every language. Also, over the centuries, a great deal of shorthand developed. Since Tengwar can be so
easily modified, customized and mutated, most people in Middle-earth devised their own version.
Dan Smith
3
Introduction – Quenya
Quenya was developed by J.R.R. Tolkien as one of the languages for the elves in his stories. In the development
of Quenya a number of changes were made in the language that have to be noted in the Tengwar.
Th > s:
At an early point in the development of Quenya the th sound changed into s. This new s sound was represented
by the same tengwa (d) as the original th sound. For example thúlë became súlë.
Kh > h:
The original Quenya kh sound shifted into a breath h, therefore kharma became harma. The kh tengwa was
reassigned to represent any medial h. The new breath h was represented by ½ or later by 9.
Ng > n:
The ng sound occurred only initially in Quenya, by the Third Age the ng sound had changed into a normal n
sound, therefore ngoldo became noldo. It is unknown if the tengwa for ng (g) was used where this new sound
occurred, or if the n (5) tengwa was used.
Ngw > nw:
The initial ngw sound changed into nw. This new nw sound was represented by the same tengwa (b) as the
original ngw sound. For example ngwalmë became nwalmë.
W > v:
The stand-alone w sound in Quenya changed into a v sound before the Third Age. This new v was represented
by the original w tengwa (n) rather than the v tengwa (y). For example wilya became vilya.
Z / r > s:
Early, when the Quenya z became an r sound, the vowel r tengwa (7) was assigned to represent the new r.
Therefore, áze became áre. The (k) & (,) tengwar fell out of use until later they were given the value ss as in
essë.
Hy > h:
Shortly after the breath h sound came into use, the value of 9 was changed from hy to a breath h. This replaced
the original breath h (½). The reason for the change may be related to the fact that you can place a tehta mark
over 9, but with ½ you must use a short carrier with the appropriate tehta mark above it. (9E vs ½`C). The hy
sound was then represented by 9Í . Later ½ was brought back into use for placement in front of a r or l to show
that it was unvoiced such as in hríve (½7~ByR).
NOTES:
A-tehta – The A-tehta occurs so frequently in this language that it is often simplified to look like a circumflex or completely omitted.
Y-tehta – The tehta mark for a Y is never used with a short carrier. If there is no tengwa in the needed position tengwa #23 is used as a
carrier for this tehta.
Examples: Quenya: zR5#Ì , zR5hÍE
Yéni: hÍ~V5% or hÍRV5%% not hÍR5% or hÍ`V`V5%
Accents – The acute accent as in namárië is mostly written on a separate long carrier. Dots such as in namárië have no phonetic value
in Tengwar and as such are represented by normal means. Such as in 5#t~C7T`V.
Diphthongs – We only see one case where the diphthongs on P. 5 aren’t used. The word caita is written: aEl1E instead of alD1E.
4
Quenya Mode (Namárië inscriptions)
I II III IV
t – as in tinco p – as in parma c/k – as in calma kw – as in quessë
1 1 q a z
nd – as in ando mb – as in umbar ng – as in anga ngw – as in ungwë
2 2 w s x
th > s – as in f – as in formen kh > h – as in hw – as in hwesta
3 3 thúlë > súlë
(Note 1)
e d harma > aha
(Note 2)
c
nt – as in anto mp – as in ampa nk – as in anca nkw – as in unquë
4 4 r f v
n – as in númen m – as in malta ng > n – as in ngw > nw – as in
5 5 t g ngoldo > noldo
(Note 3)
b ngwalmë >nwalmë
(Note 4)
r – as in parma v – as in vala y – as in yanta w > v – as in
6 6 (Note 5) y h (Note 6) n wilya > vilya
(Note 7)
r – as in rómen rd – as in arda l – as in lambë ld – as in alda
7 (Note 5) u j m
s – as in slimë s – as in silmë z > ss – as in z > ss – as in
8 i k áze > essë
(Note 8)
, áze > essë
(Note 8)
hy > h – as in y – as in yanta w – as in wilya
9 hyarmen > halla
(Note 9)
o l i-glide diphthongs . (Theoretical)
u-glide diphthongs
! Q A Z
@ W S X
h – as in halla
½ (Note 10)
NOTES:
1. The Quenya “th” sound later changed into an “s”, this new “s” was used only where the “th” had been.
2. The “h” sound in harma (pronounced kharma) later changed to “breath h” (pronounced harma). After the “kh” change this became
any medial h.
3. Occurs only initially. By the Third Age this sound had changed to a “n”. It is unknown if the tengwa continued to be used as “th”
was (Note 1) or if the distinction was lost as with “z/r” (Note 8).
4. Used at the beginning of a word only. All other NW are represented by tengwar #17 & 24.
5. The R-rule is followed in this mode.
6. This tengwa is not used by itself. It is only used as a carrier for the y-tehta.
7. The “w” turned into a “v” initially, but as in Note 1 this tengwa was still used to show the distinction.
8. The original Quenya “z” sound changed into an r. Unlike “th”, the new sound was represented by the existing “vowel r”. This
tengwa then took the value “ss”. Note: These tengwar never took the value “r”.
9. Shortly after the “breath h” was developed, this tengwa was changed from “hy” to “breath h”. The “hy” was then represented by
adding the “following y” tehta.
10. This was the first tengwa to represent the “breath h”. After the usage of “hy” changed this tengwa ceased to be used. Later this
tengwa was brought back for use before a consonant to show that it was unvoiced. Such as the “hr” in hríve.
5
Quenya Mode Tehtar/Modifier Marks
Mark With Tengwa With Short Carrier Over Long Carrier
Following a – as in: Short a – as in: Long/double a – as in:
C iE namárië `C namárië ~C namárië
Following a – as in: Short a – as in: Long/double a – as in:
ß iÝ namárië `ß namárië ~ß namárië
Following e – as in: Short e – as in: Long/double e – as in:
V iR ungwë `V ungwë ~V yéva
Following long/double e – as
VF iRV in:
yéva
Following i – as in: Short i – as in: Long/double i – as in:
B iT wilya `B wilya ~B híni/ímen
Following long/double i – as
× iÕ in:
síla
(Seldom Used)
Following o – as in: Short o – as in: Long/double o – as in:
N iY anto `N anto ~N ambaróna
Following long/double o – as
N
i^H
in:
ambaróna
N
Following u – as in: Short u – as in: Long/double u – as in:
M iU nu `M nu ~M númen
Following long/double u – as
M
i&J
in:
númen
M
Following y – as in: Y-sound – as in:
Ï 8Í wilya hÍ yéni
Following y – as in: Y-sound – as in:
Ó 8Ñ wilya
(Variant – Note 1)
hÑ yéni
(Variant – Note 1)
Doubles the length – as in:
minnóna
8'
'
Can be used to indicate a
Ë 8É consonant not followed by a
vowel.
Quenya Diphthong Chart
ai – as in: oi – as in: ui – as in:
i-glide lE maiar lY coimas lU cuivië
au – as in: eu – as in: iu – as in:
u-glide .E laurë .R leuca .T miule
In diphthongs the tehtar mark is read as though it preceded the tengwa.
NOTES:
1. This variant form of the Y-tehta is only seen when double over dots are used for a long i. This helps distinguish the marks.
Doubled Tehtar – While realistically any tehta could be doubled, it is only mentioned being done on the accent and the curls.
6
Quenya Punctuation
Very few punctuation marks are used when writing with the Tengwar and what punctuation marks we do have
seem to be sparsely used.
À Question Mark = Comma
Á Exclamation Mark - Semicolon/Period
Á= Exclamation Mark -- Period/End of Paragraph
Â-= Period/End of Paragraph
7
Introduction – Sindarin
Sindarin was developed by J.R.R. Tolkien as one of the languages for the elves in his stories. In the
development of Sindarin a number of changes were made in the language that have to be noted in the Tengwar.
Ph > f:
At one point early in the development of the Sindarin language a ph > f shift occurred. Therefore, phelgh
became felg, and alph became alf. Usually though whether you are writing the ph or the f, the e tengwa is used.
Although a final f is usually written with the r tengwa as it is pronounced v.
Khw / hw:
Khw was used primarily in an early form of Sindarin and was later lost, chwest became hwest. After the
changeover c was used mainly for the sound kh, and when hw was needed o came into use. By the Third Age
the original tengwa for kh (d) appears to have fallen out of active use.
(ng) & g(ngg):
Sindarin, like English has two values that are transcribed as “ng”. The first (properly ) is the sound in the
English word king. In Sindarin this only occurs initially or finally as in ngelaidh. The second (properly g)
occurs in the English word finger. In Sindarin this sound occurs only medially, that is inside the word. Such as
in anga. In the modes that have only one tengwa for “ng” that tengwa is generally used for both.
Mh > v:
The sound mh was originally a mutation of m, called a spirant m. However by the Third Age this sound had
further changed until it was no longer pronounced differently than a v. Although the distinction was usually
retained in the writing.
Ngw(w)
The sound ngw is usually used as in ngwalme with the sound rather than g. While ngw in ungwe would
typically be written g with the overbar.
Ghw
In Sindarin there is no known sound that would correspond to ghw. Some speculate that perhaps it was intended
to represent the gh sound as it occurs in ghaw. This seems logical since the back spirant gh disappeared from
usage about the same time as ghw was dropped from the tengwar chart. Ghaw by the third age had become ‘aw.
For much more in-depth and detailed information about the spoken Sindarin language I highly recommend this
website: http://www.uib.no/People/hnohf/sindarin.htm
8
Classical Mode (As shown in Appendix E)
I II III IV
t – as in tinco p – as in parma c/k – as in calma kw – as in quessë
1 1 q a z
d – as in ando b – as in umbar g – as in anga/gala gw – as in
2 2 w s g – as in anga
(Note 1)
x gwanûn/ungwë
th – as in thulë f – as in formen kh – as in acharn khw/hw – as in
3 3 e (Note 2) d c chwest/hwest
dh – as in galadh v – as in vedui gh – as in felgh ghw/w – as in
4 4 r f v ghaw
n – as in numen m – as in malta ng – as in ngelaidh ngw – as in
5 5 t g (Note 3) b ngwalmë
r – as in órë w – as in wilya y – as in yanta Alt form of y
6 6 (Untrilled) y h (Consonantal) n (Theoretical)
r – as in rómen rh – as in l – as in lambë lh – as in
7 (Trilled) u ngaurhoth j m Edhelharn
s – as in slimë s – as in silmë ss – as in essë ss – as in essë
8 i k ,
h – as in hyarmen hw – as in hwesta y – as in yanta w – as in wilya
9 o l (If used) . (If used)
! Q A Z
@ W S X
NOTES:
1. Appendix E lists this tengwa’s value as “g”, such as in gate. However since Sindarin has two similar “ng” values many people give
it the value “g” as in finger. In Sindarin this sound value occurs only medially.
2. Probably also represented a “ph” as in alph.
3. This is the other “ng” value, it has a sound as in king. In Sindarin this sound occurs only initially and finally.
9
Classical Mode Tehtar/Modifier Marks
Mark With Tengwa With Short Carrier Over Long Carrier
Preceding a – as in: Short a – as in: Long/double a – as in:
C iE namárië `C namárië ~C namárië
Preceding a – as in: Short a – as in: Long/double a – as in:
ß iÝ namárië `ß namárië ~ß namárië
(Theoretical)
Preceding e – as in: Short e – as in: Long/double e – as in:
V iR yéva `V ungwë ~V yéva
Preceding i – as in: Short i – as in: Long/double i – as in:
B iT wilya `B wilya ~B híni
Preceding o – as in: Short o – as in: Long/double o – as in:
N iY ambaróna `N anto ~N ambaróna
Preceding u – as in: Short u – as in: Long/double u – as in:
M iU númen `M nu ~M númen
Preceding y – as in: Y-sound – as in: Y-sound – as in:
× iÕ ylf/býr `× wilya ~× býr
NOTES:
No Overbars or Underbars are used in this mode. Both tengwar are written out as in: tjRj5^.
Appendix E states that the tehtar could be doubled, but we never see this being done.
There are no special tengwa/tehta combinations for diphthongs in this mode.
10
Mode of Gondor (Third Copy of the King’s Letter)
I II III IV
t – as in tinco p – as in parma ch – as in chîn c/k – as in calma
1 1 q a (Theoretical) z
d – as in ando b – as in umbar g – as in
2 2 w s x gwanûn/nelig
th – as in thúlë f/ph – as in kh – as in acharn
3 3 e formen/alph d c
dh – as in galadh v/f – as in gh – as in felgh
4 4 r vedui/alf
(Note 1)
f v
n – as in númen m – as in malta ny – as in nynnin ng – as in
5 5 t g (Theoretical) b ungwë/ngwalmë
r – as in umbar w – as in wilya
6 y h n
i-glide diphthongs u-glide diphthongs
6 (Final) (Theoretical) (Theoretical)
r – as in rómen rh – as in l – as in lambë lh – as in
7 (Nonfinal) u ngaurhoth
(Theoretical)
j m Edhelharn
s – as in slimë s – as in silmë ss – as in essë ss – as in essë
8 i k ,
h – as in hyarmen hw – as in hwesta w – as in wilya
9 o l .
e-glide diphthongs
(Theoretical) (Note 2) (Theoretical)
! Q A Z
@ W S X
h – as in halla mh > v – as in
½ (Theoretical) š mhellyn
(Note 3)
NOTES:
Theoretical Values – The theoretical values in Column III, are mentioned because some writers think that they were used to write
words in other languages. This makes sense, considering that at this time in Gondor Sindarin and Westron were used side-by-side.
1. This tengwa is transcribed “f” when it occurs at the end of a word.
2. Can be used by itself and before a vowel to represent an I as in Iorhael. (l7Y9lEj).
3. By the Third Age this sound/tengwa had changed to a “v”. Some people maintain that a curl attached to the bow of a tengwa
indicates a spirant rather than a stop. However we only see this done to an M (MH), so it is unclear if the curl is actually used this
way, or if the MH is an extra character.
11
Mode of Gondor Tehtar/Modifier Marks
Mark With Tengwa With Short Carrier Over Long Carrier
Preceding a – as in: Short a – as in: Long/double a – as in:
C iE namárië `C namárië ~C namárië
Preceding a – as in: Short a – as in: Long/double a – as in:
ß iÝ namárië `ß namárië ~ß namárië
(Theoretical)
Preceding e – as in: Short e – as in: Long/double e – as in:
V iR yéva `V ungwë ~V yéva
Preceding i – as in: Short i – as in: Long/double i – as in:
B iT wilya `B wilya ~B híni
Preceding o – as in: Short o – as in: Long/double o – as in:
N iY ambaróna `N anto ~N ambaróna
Preceding u – as in: Short u – as in: Long/double u – as in:
M iU númen `M nu ~M númen
Preceding y – as in: Y-sound – as in: Y-sound – as in:
× iÕ ylf/býr `× wilya ~× býr
Preceding n or m sound – as in:
alcarinqua
i[
[
Doubles the length – as in:
' 8' minnóna
Following w – as in:
ê ié gwain
Indicates a spirant rather than a
+ 2+ stop. This would be DH.
(Theoretical)
Mode of Gondor Diphthong Chart
ai – as in: ei – as in: ui – as in:
i-glide hE erain hR eitha hU nuin
ae – as in: oe – as in: ue – as in:
e-glide lE mae lY boe lU ?
(Theoretical)
au – as in: eu – as in: ou – as in:
u-glide nE naur
(Theoretical)
nR ?
(Theoretical)
nY ?
(Theoretical)
12
Sindarin Mode of Beleriand (West Gate of Moria / A Elbereth)
I II III IV
t – as in tinco p – as in parma c/k – as in calma kw – as in quessë
1 1 q a z (Theoretical)
d – as in ando b – as in umbar g – as in anga gw – as in
2 2 w s x gwanûn/ungwë
(Theoretical)
th – as in thulë f/ph – as in kh – as in acharn khw/hw – as in
3 3 e formen/alph d c chwest/hwest
(Theoretical)
dh – as in galadh v/f – as in gh – as in felgh ghw/w – as in
4 4 r vedui/alf
(Note 1)
f (Theoretical) v ghaw
(Theoretical)
nn – as in venn mm – as in namma ng – as in ngoldo ngw – as in
5 5 t g (Theoretical)
b ngwalmë
(Theoretical)
n – as in numen m – as in malta o – as in nolt w – as in wilya
6 6 y h n
r – as in rómen rh – as in l – as in lambë lh – as in
7 u ngaurhoth j m Edhelharn
s – as in slimë y – as in yanta ss – as in essë ss – as in essë
8 i (Note 2) k ,
h – as in hyarmen hw – as in hwesta e – as in ungwë u – as in numen
9 o (Theoretical) l .
! Q A Z
@ W S X
h – as in halla i – as in wilya i – as in Iorhael a – as in namárië
½ (Theoretical) ` ~ (initially) ]
NOTES:
Theoretical Values – These are based on usage in other Sindarin modes.
1. This tengwa is transcribed “f” when it occurs at the end of a word.
2. Appendix E mentions that this was a “vocalic y”, however we see it used for all types of y’s.
13
Sindarin Mode of Beleriand – Complex Vowels
Series Normal +y(i) +w(u)
a – as in: ai – as in: au – as in:
a-series ] namárië ]Õ phain ]ê gaur
e – as in: ei – as in: eu – as in: ?
e-series l ungwë lÕ eitha lê
i – as in: í – as in: híni iu – as in:
i-series ` wilya `× use `V `ë Peringiul
o – as in: oi – as in: ou – as in: ?
o-series h nolt hÕ elio hê
u – as in: ui – as in: ú – as in: númen
u-series . numen
.Õ cui
.ê use .R
V .R
Denotes a long vowel
B `B
Typically placed over a carrier to
help distinguish it in crowded
words.
Preceding n or m sound – as in:
alcarinqua
i[
[
Doubles the value – as in:
essë
8' (Note 1)
'
Following w – as in:
ê ié gwain
(Note 2)
Following w – as in:
M iU gwain
Appendix E lists this as being an
alternate w-tehta. (Note 2)
NOTES:
+w(u) – In vowels the following w is usually transcribed as a u.
+y(i) – In vowels the following y is usually transcribed as an i. The dots are only seen being used to form diphthongs.
1. This is not shown in either inscription. Where doubles occur both tengwar are written out. I have included it because most people
use it anyway.
2. These are not shown in either inscription, but there is no opportunity for them to occur in either sample. However, Appendix E
makes mention of both of these.
14
Full Mode of Gondor (First Copy of the King’s Letter)
I II III IV
t – as in tinco p – as in parma c/k – as in calma
1 1 q a z
d – as in ando b – as in umbar g – as in anga
2 2 w s x
th – as in thulë f – as in formen kh – as in acharn
3 3 e d c
dh – as in galadh v – as in vedui gh – as in felgh
4 4 r f v (Theoretical)
n – as in numen m – as in malta ng – as in ngelaidh
5 5 t g b
r – as in órë o – as in nolt w – as in wilya
6 6 (Note 1) y h n (Theoretical)
r – as in rómen rh – as in l – as in lambe lh – as in
7 (Note 1) u ngaurhoth j m Edhelharn
s – as in slimë y – as in yanta ss – as in essë ss – as in essë
8 i k ,
h – as in hyarmen hw – as in hwesta e – as in ungwë u – as in numen
9 o (Theoretical) l .
! Q A Z
@ W S X
h – as in halla i – as in wilya i – as in Iorhael a – as in namárië
½ `B (Note 2) ~B (initially)
(Note 2)
]
mh > v – as in Alt form of ]
š mhellyn
(Note 3)
‡
NOTES:
1. There is no pattern as to which tengwa is used.
2. In this sample whenever these tengwar are used, they always have a dot above them. A stand-alone “i” is always represented `B.
3. By the Third Age this sound/tengwa had changed to a “v”. Some people maintain that a curl attached to the bow of a tengwa
indicates a spirant rather than a stop. However we only see this done to an M (MH), so it is unclear if the curl is actually used this
way, or if the MH is an extra character.
15
Full Mode of Gondor – Complex Vowels
Normal +e +y(i) +w(u)
a – as in: ae – as in: ai – as in: au – as in:
a-series ] namárië ]Ý laegel ]Ö phain ]é gaur
e – as in: ê/é – as in: ei – as in: eu – as in: ?
e-series l ungwë lÝ têw/use lR lÖ eitha lé (Theoretical)
i – as in: ie – as in: ? í – as in: híni iu – as in:
i-series ` wilya `ß (Theoretical)
`Ö use `V `ë Peringiul
(Theoretical)
o – as in: oe – as in: oi – as in: ou – as in: ?
o-series h nolt hÝ foeir hÖ elio hé
u – as in: ue – as in: ? ui – as in: ú – as in:
u-series . numen
.Ý (Theoretical)
.Ö cui
.é númen
use .R
V .R ã ]á
Denotes a long vowel. Alternate form of ^
See notes below.
B
Can be placed above a tengwa or
iT carrier to help distinguish it in
crowded words. (Note 1)
Preceding n or m sound – as in:
alcarinqua
i[
[
Doubles the value – as in:
minnóna
8' Mostly the tengwar are written
' out.
Following w – as in:
ê ié gwain
Indicates a spirant rather than a
+ 2+ stop. This would be DH.
(Theoretical)
NOTES:
The tehtar marks in the Complex Vowel Table are used only on vowels.
+w(u) – In vowels the following w is usually transcribed as a u.
+y(i) – In vowels the following y is usually transcribed as an i. The dots are only seen being used to form diphthongs.
^ – It has been suggested that in this mode ^ is a smaller form of yanta “l” raised to a tehta mark. Used only on vowels.
1. This is only seen done on the ` and ~ tengwar.
16
Sindarin Punctuation
Very few punctuation marks are used when writing with the Tengwar and what punctuation marks we do have
seem to be haphazardly used.
Tehta Mode
Third Copy of the King’s Letter
› Parenthesis = Comma
=-= Period/End of Paragraph - Semicolon/Comma
Full Modes
West Gate of Moria | A Elbereth
= Comma
- Beginning & End of Sentence Mark | Period/Exclamation Mark
First Copy of the King’s Letter
› Parenthesis = Comma/Period
¹ Comma - Comma/Semicolon/Period
-= Period/End of Paragraph ˆ Colon
17
Notes on the English Modes
The Original Mode
The first mode outlined in this section I have chosen to call “The Original Mode” because it is the style that
J.R.R. Tolkien used in his English language writings. Some additional information is drawn from Appendix E
of the Lord of the Rings.
Tengwar with a downward stem such as 1 can be aspirated by extending the stem upwards (!). I believe this is
carried over from the Quenya style where the ½ placed in front of a tengwa could represent an aspirated sound.
In this case though the ½ is merged into the tengwa: ½ + 1 = ½1 > !. Although we never see ½ used in this
mode. A peculiarity worth mentioning is the word too in the Hugh Brogan Letter. It is written out 1YN instead
of 1~N or 1`N`N as would be expected.
CJRT’s Mode
This is the mode used by Tolkien’s son in his tengwar writings. These writings are found on the title pages of
the twelve volumes of The History of Middle Earth series, Unfinished tales, and The Silmarillion. He tends to
be very inconsistent between books and sometimes even within an inscription.
CJRT’s Mode went through a considerable amount of change and it tends to follow English spelling rather
closely. A good example of this is how he spells the word black: wjiEz . As you see he has a letter for c and
uses it for all cases where c occurs in English. In other modes the ck in black would normally be expressed as
either a k or a doubled k such as: wjzE or wjzE'.
Long vowels are not shown on a long carrier, rather they are written on short carriers or above tengwar just as
short vowels are. We only see double vowels such as the o’s in book placed onto long carriers. The only
exception to this is seen in Book X where the a in Ainur is written above a long carrier rather than in the
diphthongal form that it usually has (~C`V56á instead of the earlier lE57á). The reason for this change is
unknown, perhaps CJRT was experimenting with using it as a way to capitalize a proper name, or more likely
he’s using it to represent the long-a.
When the vowel combinations: ea, oa, ia, ie, & ue occur a short carrier is used with the first vowel on top and
the second on the bottom (`BÓ , `NÓ , `VÓ , `VË & `ãË). One could assume the combinations: ua, ae, oe,
& ue would follow this pattern should they occur. The only exception to this is in Book II where the ie in
Tinuviel is written out: 15$rà`VjT. Book II was still early in the development of this mode, and CJRT had
probably not yet settled how he would handle the vowel combinations. Incidentally at this point he was still
showing the double-o in book as w~N~Nz rather than the correct w~Nz. CJRT will (occasionally) also place
following marks under a tengwa even though there is room above the next tengwa in a word. Such as return:
7É16á5 instead of 71T6á5 or traced: 17iEÉ2 instead of 17iE2% , he: 9É instead of 9`B or (if it was me)
9~B and even in father: eÑ46T rather than e4#6T normally we would only expect this to be seen in a word
such as herein: 97TÉ5$ where there is no room above.
The Common Mode
This is the mode that has developed in recent years and become the standard way of writing the tengwar among
fans of the language. It is essentially a mixture of The Original Mode and CJRT’s Mode.
Breaking English up into three separate modes is actually somewhat misleading, because if you are familiar
with one of the modes you can easily read a passage written in another English mode. The differences between
these modes lie mainly in how the diacritic marks (tehtar) are used and represented. There are also differences
among some lesser-used tengwar. All of the English tehta modes are however written in the Sindarin style, that
is with the tehta mark read as though it preceded the tengwa.
18
Original Mode for English (Appendix E of the “Lord of the Rings” & The Hugh Brogan Letter)
I II III IV
t – as in tie p – as in pie ch – as in chess k – as in kite
1 1 q a z
d – as in dog b – as in boy j – as in joke g – as in game
2 2 w s x ngw – as in tengwar
(Note 1)
th – as in thigh f – as in four sh – as in shoot khw – as in queen
3 3 e ph – as in graph d c hw – as in when
(Note 2)
dh – as in thy v – as in victor zh – as in beige gh – as in aghast
4 4 r f v (Note 3)
n – as in night m – as in make ng – as in sing
5 5 t g b
r – as in car w – as in wake y – as in yak/you
6 6 (Note 4) y h (consonantal) n
r – as in red rh – as in rhombus l – as in late lh – as in ?
7 (Note 4) u j m
s – as in see s – as in see z – as in zoo z – as in zoo
8 i k ,
h – as in high hw – as in when y – as in yak w – as in war
9 o (Note 2) l i-glide diphthongs
(Note 5)
. u-glide diphthongs
(Note 6)
t+h p+h (ph) ch+h k+h (kh) – as in
! (Note 7) Q (Note 7) A (Note 7) Z Christmas
(Note 8)
“the” “of”
@ W S X
j+h g+h (gh)
(Note 7) (Note 7)
“of the”
W"
NOTES:
1. The value ngw is not found in the English language. This tengwa in English only has the value ngw when writing words such as:
tengwar or tengwa.
2. Originally this tengwa had the value khw as in Quentin or Quenya, but mostly for English it is applied to q/kw as in queen. c was
probably only rarely used for hw, and it is possible that o was created later as an additional tengwa so that c is used just for khw.
3. Tolkien in Appendix E, makes no distinction between gh voiced as in ghost and quiet as in bought.
4. The R-rule is always followed in this mode. It is described in Appendix E by calling 6 weak and 7 full.
5. This tengwa is sometimes used for consonantal y such as yak or you. Mostly though it is used for i-glide diphthongs such as in their
or great.
6. This tengwa is almost exclusively used for u-glide diphthongs such as in journey.
7. Appendix E mentions these letters as being “aspirated” (sound+h) however we never see them used in this mode. Although you’ll
notice that some of the values are picked up in the later modes. Tolkien also stated that they could be used to represent consonantal
variations as needed.
8. This is seen only in the Hugh Brogan Letter.
19
Original Mode Tehtar/Modifier Marks
Mark With Tengwa With Short Carrier Over Long Carrier
Preceding a – as in: Short a – as in: Long/double a – as in:
C iE cat/along/came/care `C cat/along/care ~C Aaron/came
Preceding a – as in: Short a – as in: Long/double a – as in:
ß iÝ cat/along/came
(Seldom used)
`ß cat/along ~ß Aaron/came
Preceding e – as in: Short e – as in: Long/double e – as in:
V iR kept/keep `V kept ~V keep
Preceding long/double e – as
VF iRV in:
keep
Preceding i – as in: Short i – as in: Long/double i – as in:
B iT kit/kite `B kit ~B kite
Preceding o – as in: Short o – as in: Long/double o – as in:
N iY top/open/book `N top ~N open/book
Preceding long/double o – as
N
i^H
in:
open/book
N (Seldom used)
Preceding u – as in: Short u – as in: Long/double u – as in:
M iU cup/cute `M cup ~M cute
Preceding long/double u – as
M
i&J
in:
cute
M (Seldom used)
Preceding y – as in: Projected y – as in: Projected y – as in:
Û iÙ style (maybe system) `Û story ~Û by (maybe story)
Preceding ae – as in Long ae – as in:
` ~
ae as in:
pair/care pair/care bait
µ i ª (Seldom used) (Seldom used) (Theoretical)
ª ª
Silent following e – as in: Silent e – as in:
Ê 8Ê here
Obscured Vowel Mark
`Ê here
Obscured Vowel Mark
Preceding n or m sound – as
in:
i[ pant/bump
[
Doubles the length – as in:
toss
8'
'
Following w – as in:
ê ié two
(Seldom used – Note 1)
Following s – as in:
+ 6+ cars Variants on the S-curl: j¢ or 6£
NOTES:
Doubled Tehtar – While realistically any tehta could be doubled, it is only mentioned being done on the accent and the curls.
Accents & Curls – On occasion a writer may reverse the V and the B and also the curls. This reversal is shown in the Hugh Brogan
Letter.
Variant S-curls: These are only seen in the Hugh Brogan Letter.
1. This is seen only in the Hugh Brogan Letter.
20
CJRTs’ Mode for English (History of Middle Earth Series)
I II III IV
t – as in tie p – as in pie ch – as in chess k – as in kite
1 1 q a z
d – as in dog b – as in boy j – as in joke g – as in game
2 2 w s x
th – as in thigh sh – as in shoot kh – as in loch
3 e d c
f/ph– as in
3 four/alpha
dh – as in thy v – as in victor zh – as in beige
4 4 r f v
n – as in night m – as in make ng – as in
5 5 t g b sing/finger
r – as in car w – as in wake y – as in w – as in dwelt
6 6 (Note 1) y h yak/story/by n (Note 2)
r – as in red l – as in late
7 (Note 1) u j m
s – as in see c – as in z – as in zoo z – as in zoo
8 (Note 3) i ocean/lace/count k ,
h – as in high hw – as in when
9 o l .
i-glide diphthongs u-glide diphthongs
! Q A Z
“the” “of” gh – as in brought
@ W S X
“of the” s – as in see quiet h – as in kw – as in queen
W" ] (Note 3)
½ John
h – as in high Ä
(Note 4)
hw – as in when
817Yh ) But, once again
in Book XII he uses it (`V). In The Silmarillion ~V is used rather than `V or h for this y.
3. CJRT does not use the overbar for an N, the only time it’s used for an N is in the word “and” (2{). For example: 5$1`N instead of
1[R`N. However, it is most of the time used normally for an M: w{#7E rather than t#w7E, sometimes though the m is written out as
well.
22
Common Mode for English
I II III IV
t – as in tie p – as in pie ch – as in chess k – as in kite
1 1 q a z
d – as in dog b – as in boy j – as in joke g – as in game
2 2 w s x
th – as in thigh f – as in four sh – as in shoot kh – as in loch
3 3 e d c (Note 1)
dh – as in thy v – as in victor zh – as in beige gh – as in aghast
4 4 r f (Seldom used) v (Note 2)
n – as in night m – as in make ny – as in canyon ng – as in sing
5 5 t g ng – as in sing
(Note 3)
b g – as in finger
(Note 4)
r – as in car w – as in wake y – as in story q – as in queen
6 6 (Note 5) y h n (Seldom used)
r – as in red rh – as in rhombus l – as in late ld – as in mold
7 (Note 5) u rd – as in coward j m (Seldom used)
s – as in see s – as in see z – as in zoo z – as in zoo
8 i k ,
h – as in high hw – as in when y – as in yak w – as in war
9 o l i-glide diphthongs
(Note 6)
. u-glide diphthongs
(Note 7)
ph – as in graph
! Q A Z
“the” “of” gh – as in bought
@ W S X
“of the” s – as in see quiet h – as in
W" ] ½ John
h – as in high
(Note 8)
NOTES:
1. Officially this tengwa is to be used for a kh as in: loch and possibly as in Christmas. However in most cases z is used instead and c
is simply not used. Very rarely it will be used as in black.
2. This tengwa can be used for gh as in ghost, but often it is not used. Gh such as in ghost is commonly done with: x9 or x½. On
occasion it is mistakenly used for gh as in bought (X).
3. Most of the time this tengwa is not used, but it does have two values that are occasionally used. Ny is a theoretical value introduced
by Dan Smith. Typically this would be used as in canyon or as in the Spanish señor, but not as in pony. More often this tengwa has the
value ng and is used in place of b or when b is used for g.
4. This tengwa is almost always used for ng as in king. Most often g is shown by: x{.
5. The R-rule is generally followed in this mode.
6. This tengwa is sometimes used for consonantal y such as yak or you, mostly when h is used exclusively for a final or vowel y.
Mostly though it is used for i-glide diphthongs such as in their or great. Both values can be used simultaneously.
7. This tengwa is almost exclusively used for u-glide diphthongs such as in journey.
8. Most of the time this tengwa is used for a silent h as in John, however 9 can also have that value.
23
Common Mode Tehtar/Modifier Marks
Mark With Tengwa With Short Carrier Over Long Carrier
Preceding a – as in: Short a – as in: Long/double a – as in:
C iE cat/along/came/care `C cat/along/care ~C Aaron/came
Preceding a – as in: Short a – as in: Long/double a – as in:
ß iÝ cat/along/came
(Seldom used)
`ß cat/along ~ß Aaron/came
Preceding e – as in: Short e – as in: Long/double e – as in:
V iR kept/keep `V kept ~V keep
Preceding long/double e – as
VF iRV in:
keep
Preceding i – as in: Short i – as in: Long/double i – as in:
B iT kit/kite `B kit ~B kite
Preceding o – as in: Short o – as in: Long/double o – as in:
N iY top/open/book `N top ~N open/book
Preceding long/double o – as
N
i^H
in:
open/book
N (Seldom used)
Preceding u – as in: Short u – as in: Long/double u – as in:
M iU cup/cute `M cup ~M cute
Preceding long/double u – as
M
i&J
in:
cute
M (Seldom used)
Preceding y – as in: Projected y – as in: Projected y – as in:
Û iÙ system
(Seldom used)
`Û story
(Seldom used variant)
~Û by/story
Silent following e – as in: Silent e – as in:
Ê 8Ê here `Ê here
Following a – as in: Short a – as in:
Ó 8Ñ cat `Ó Earth/cat
(Note 1)
Preceding n or m sound – as
in:
i[ pant/bump
[
Doubles the length – as in:
toss
8'
'
Following s – as in:
+ 6+ cars
NOTES:
Doubled Tehtar – While realistically any tehta could be doubled, it is only mentioned being done on the accent and the curls.
Accents & Curls – On occasion a writer may reverse the V and the B and also the curls.
1. Typically only seen in vowel combinations such as Earth.
24
English Mode of Beleriand – Style One (Tom Bombadil & Errantry Inscriptions)
I II III IV
t – as in tie p – as in pie ch – as in chess k – as in kite
1 1 q a z
d – as in dog b – as in boy j – as in joke g – as in game
2 2 w s x
th – as in thigh f – as in four sh – as in shoot kh – as in loch
3 3 e d c (Theoretical)
dh – as in thy v – as in victor zh – as in beige
4 4 r f (Theoretical) v
n – as in night m – as in make ny – as in canyon ng – as in sing
5 5 t g (Theoretical) b
r – as in car u – as in woman u – as in cut a – as in palm
6 6 (Note 1) y h n
r – as in red rr – as in merry l – as in late ll – as in tall
7 (Note 1) u (Theoretical) j m (Theoretical)
s – as in see s – as in see z – as in zoo z – as in zoo
8 i k ,
h – as in high o – as in cot
9 o l .
! Q A Z
“the” “of”
@ W S X
e – as in kept schwa – as in of y – as in yet/very a – as in ajar
] ` ~ ¼
hw – as in why w – as in wipe Alt form of h Alt form of ¾
¿ Simplified form ¿ ¾ H ³
NOTES:
Theoretical Values – These values are very uncommon and are not used in any inscription by Tolkien, fans of the full modes
introduced them. The values are based on the use of the tengwar in other modes.
1. The R-rule is always followed in this mode.
25
English Mode of Beleriand – Style One: Complex Vowels
Series Normal Variant +y Lengthened +w
a – as in: ay – as in: a – as in: aw – as in:
a-series n palm/chat nÕ great/day|kite nR called nê down
a – as in:
¼ across
schwa – in: i – as in: iy – as in: i | í – as in: iw – as in: ?
schwa-
series ` of `B pit `× keen `V fight | keen
(Theoretical)
`ë (Theoretical)
e – as in: ey – as in: e – as in: ? ew – as in:
e-series ] kept ]Õ they ]R (Theoretical)
]ê slew
(Theoretical)
o – as in: oy – as in: o – as in: ow – as in
o-series . cot .Õ boy
(Theoretical)
.R water .ê slow | old
u – as in: uy – as in: u | ú – as in: uw – as in:
u-series y woman yÕ buy
(Theoretical)
yR cute | blue
(Theoretical)
yê blue
u – as in:
h cut
English Mode of Beleriand – Style One: Modifier Marks
Preceding n or m sound – as in:
pant/bump
i[ Sometimes the n/m is written out.
[
Doubles the value – as in:
toss
8' Sometimes the tengwar are
' written.
Following w – as in:
dwelt/queen (kw)
iê
ê
Used to distinguish vowels in
crowded words. It does not alter
yT the sound value unless on `.
T
NOTES:
This mode is very sensitive to pronunciation; this can make reading and writing in this mode very difficult.
Theoretical Values – These values are not shown in any inscription. They are just an assumption. Where there is a | values on the left
are my assumption, values on the right are theoretical values introduced by Dan Smith.
26
st rd
English Mode of Beleriand – Style Two (1 & 3 King’s Letters, Book of Mazarbul, & Hugh Brogan Letter)
I II III IV
t – as in tie p – as in pie ch – as in chess k – as in kite
1 1 q a z
d – as in dog b – as in boy j – as in joke g – as in game
2 2 w s x
th – as in thigh f – as in four sh – as in shoot kh – as in loch
3 3 e d c (Theoretical)
dh – as in thy v – as in victor zh – as in beige gh – as in bought
4 4 r f (Theoretical) v
n – as in night m – as in make ny – as in canyon ng – as in sing
5 5 t g (Theoretical) b
r – as in car u – as in cup o – as in cot a – as in palm
6 6 (Note 1) y h n
r/w – as in red/war rr – as in merry l – as in late ll – as in tall
7 (Note 1 & 2) u (Theoretical) j m
s – as in see c – as in z – as in zoo z – as in zoo
8 i city/especial k ,
h – as in high hw – as in what e – as in kept w – as in wake
9 o (Theoretical) l long e – as in keep . (Note 2)
! Q A Z
“the” “of”
@ W S X
i – as in kit y – as in yet/very a – as in ajar “of the”
` (Note 3) ~ ¼ W"
Alt form of 7
Ä 3rd King’s Letter
NOTES:
Theoretical Values – These values are very uncommon and are not used in any inscription by Tolkien, fans of the full modes
introduced them. The values are based on the use of the tengwar in other modes.
1. There are two ways to write R’s in this mode. See the chart on the next page.
2. Use of these tengwar is entirely dependant on which method of writing R’s you are using.
3. In the Hugh Brogan Letter this is always used with an accent above it. (`V)
27
English Mode of Beleriand – Style Two: Complex Vowels
Series Normal +y +w
a – as in: ay – as in: aw – as in:
a-series n palm/chat nÕ day nê down
e – as in: ey – as in: ew – as in:
e-series l kept lÕ they lê slew
(Theoretical)
i – as in: iy – as in: ? iw – as in: ?
i-series ` kit `× (Theoretical)
`ë (Theoretical)
o – as in: oy – as in: ow – as in
o-series h cot hÕ boy
(Theoretical)
hê slow
u – as in: uy – as in: uw – as in:
u-series y cut yÕ buy yê blue
(Theoretical)
In the Hugh Brogan Letter we never see the double dots used. Though no word is used that would call for them.
English Mode of Beleriand – Style Two: Modifier Marks
Following s – as in:
V .R
Denotes a long vowel
(sometimes)
Shire d`V6É (King’s Letter)
+ 6+ cars
Preceding n or m sound – as in: This alternate S-curl is seen in the
pant/bump 3rd Copy of the Kings Letter &
i[ Sometimes the n/m is written out.
£ 6£ The Hugh Brogan Letter.
[
Doubles the value – as in:
toss
8' Sometimes the tengwar are
' written.
Following w – as in:
dwelt/queen (kw) Sometimes
iê transcribed as a u. You (~hé)
ê
Silent following e – as in:
Ê 8Ê here
(Note 1)
Used to distinguish vowels in
crowded words. Particularly if
yT they could be mistaken as part of
T another tengwa. The accent can
also be used for this. (Note 2)
English Mode of Beleriand – Style Two: R / W Table
R-consonant R-vowel W Red War
Type 1 6 6 7 Type 1 6l2 7n6
Type 2 6 7 . Type 2 7l2 .n6
NOTES:
Theoretical Values – These values are not shown in any inscription. They are just an assumption.
Type 1 – Book of Mazarbul & Hugh Brogan Letter
Type 2 – 1st & 3rd King’s Letters
1. The dot under a tengwa can denote a following silent e, or a schwa sound.
2. The accent is used for this purpose in the Hugh Brogan Letter.
28
English Punctuation
There is no unified punctuation in the Tengwar. Some people use standard English punctuation, there are
however a number of punctuation marks used by Tolkien, though inconsistently and across various inscriptions.
À Question Mark = Comma/Hyphen
Á Exclamation Mark - Comma/Period
«» Quotation Marks ˆ Colon
 End of Paragraph/Section -= Period/End of Paragraph
¬ End of Section -- End of Paragraph/Section
== Quotation Marks (one dot on each side) =-= End of Paragraph/Section
The dots represent a pause in the passage, and in general, the more dots the longer the pause lasts. Many times
the  was appended to an end of section/paragraph mark to indicate the reader was at the end of the document.
In most cases very little if any punctuation is actually used when writing with the Tengwar.
29
Mode for The Black Speech/Orkish (The Ring Inscription)
I II III IV
t – as in krimpatul p – as in krimpatul ch – as in ? k – as in krimpatul
1 1 q a (Theoretical) z
d – as in durb b – as in búrz j – as in ? g – as in nazg
2 2 w s (Theoretical) x
th – as in thrak f – as in ufthak sh – as in sha kh – as in ?
3 3 e (Theoretical) d c (Theoretical)
dh – as in ? v – as in ? zh – as in ? gh – as in ghâsh
4 4 (Theoretical) r (Theoretical) f (Theoretical) v
n – as in nazg m – as in gimbatul ny – as in ? ng – as in ?
5 5 t g (Theoretical) b (Theoretical)
r – as in burz w – as in ? y – as in ?
6 6 (Note 1) y (Theoretical) h (Theoretical) n
r – as in krimpatul rh – as in ? l – as in krimpatul lh – as in ?
7 (Note 1) u (Theoretical) j m (Theoretical)
s – as in snaga s – as in snaga z – as in nazg z – as in nazg
8 (Theoretical) i (Theoretical) k ,
h – as in mauhur hw – as in ? y – as in ? w – as in ?
9 (Theoretical) o (Theoretical) l i-glide diphthongs
(Theoretical)
. u-glide diphthongs
(Theoretical)
th – as in ? f – as in ? sh – as in ash kh – as in ?
! (Theoretical) Q (Theoretical) A Z (Theoretical)
dh – as in ? v – as in ? zh – as in ? gh – as in agh
@ (Theoretical) W (Theoretical) S (Theoretical) X
h – as in mauhur
½ (Theoretical)
NOTES:
Theoretical Values – Based upon their use in other modes, primarily English. These values have been made pretty much standard by
fans, as they are used in the various Tengwar transcription utilities.
1. The R-rule is followed in this mode.
Tengwar with a raised stem such as: v or d can have their stem extended downward when they carry a tehta.
Examples: Shrak: d7zE ghash: vAE
ash: AE agh: X#
Other Known Consonantal Sounds – There are a few other consonantal sounds in the Black Speech, that could theoretically be
represented in the tengwar: SN , SK (initially) , THR , RZ , ZG (finally). We do know that THR & ZG are not assigned a tengwa from
the ring inscription by J.R.R. Tolkien. However, the others could possibly have been placed into the chart if Tolkien had continued
work on this language.
30
Black Speech Tehtar/Modifier Marks
Mark With Tengwa With Short Carrier Over Long Carrier
Preceding a – as in: Short a – as in: Long/double a – as in:
C iE ash `C ash ~C ghâsh
Preceding a – as in: Short a – as in: Long/double a – as in:
ß iÝ ash `ß ash ~ß ghâsh
(Theoretical) (Theoretical) (Theoretical)
Preceding e – as in: Short e – as in: Long/double e – as in:
V iR ? `V ? ~V ?
(Theoretical – Note 1) (Theoretical – Note 1) (Theoretical – Note 1)
Preceding long/double e – as
VF iRV in:
?
(Theoretical – Note 1)
Preceding i – as in: Short i – as in: Long/double i – as in:
B iT ishi `B ishi ~B ?
Preceding u – as in: Short u – as in: Long/double u – as in:
N iY tulûk `N tulûk ~N tulûk/Lugbúrz
Preceding long/double u – as
N in:
i^H tulûk/Lugbúrz
N
Preceding o – as in: Short o – as in: Long/double o – as in:
M iU olôg `M olôg ~M olôg
(Note 2) (Note 2) (Note 2)
Preceding long/double o – as
M in: olôg
i&J (Note 2)
M
Preceding n or m sound – as
in:
i[ gimbatul
[
Black Speech Diphthongs/Complex Vowel Chart
ai – as in: oi – as in: ui – as in:
i-glide lE Skai/hai lY ?
(Theoretical)
lU ?
(Theoretical)
au – as in: eu – as in: ou – as in:
u-glide .E Mauhur .R ?
(Theoretical)
.Y ?
(Theoretical)
NOTES:
1. The “e” does not seem to exist in this language. If this tehta is used it would only be for writing words in another language.
2. The “o” occurs very rarely in this language.
This mode bears an extreme likeness to the various modes for English. This is probably because only one sample of this script exists,
that being the ring inscription. If Tolkien had foreseen a need to make extensive use of this language as he did Quenya and Sindarin
there would most likely be more differentiation.
One peculiarity in this mode is that there don’t appear to be spaces between words, whether this is just the impression given by the
ring inscription, or what Tolkien intended is unclear.
Also worth mentioning is the particle –ishi in the inscription. At first glance it can appear to be written using §, closer inspection
however will show the second bow to actually be a short carrier (A`).
31
Mode for Old English
I II III IV
t – as in to p – as in up front stop c – as in back stop c – as in
1 1 q a cyrre* z ac
d – as in god b – as in bæd front stop g – as in back stop g – as in
2 2 w s secganne* x gode
þ – as in þa f – as in folc front spirant h – back spirant h –
3 3 (Note 1) e d as in aleh
(Theoretical)
c as in þeah
ð – as in ða v – as in front spirant g – back spirant g –
4 4 (Note 1 & 5) r ofer/Avallon f as in þegn v as in hogode
n – as in cyning m – as in man
5 5 t g b
r – as in eorl u – as in * a – as in *
6 y h n
i-y glide*
6 (Note 2) (Note 3) (Note 2)
w – as in wéox l – as in gelomp ld – as in walde
7 u j m
s – as in se z – as in alysan*
8 i k (Note 4) ,
Breath h – as in hi
9 o l .
Alt form of 3 Alt form of q*
! Q A Z
Alt form of 4
@ W S X
front ht – as in back ht – as in sc – as in scort hw – as in hwæt
§ meht
(Note 6)
¦ ahte
(Note 6)
f 3
NOTES:
1. Even though the voiced and the voiceless spirants (ð and þ) were interchangeable sounds in Old English, the tengwar mode retains
the distinction between them.
2. Though vowels are usually expressed by tehtar, n and y are occasionally used for a and u, mostly in prefixes and word-final. Long
vowels á, ú can be expressed by nD, yH (this usage does not appear in Text II).
3. Used in iú hyH as well as Meneltyúla t5RjR1hyHjn (Written in Text I style with Text II tehtar markings).
4. Not attested in Text II and only used once in Text I. Normally, the voiced sound of s in medial positions is represented by 8.
5. In one word “Zigure” in Text I this tengwa has the value z (4%x^ü6É), also in this particular case the . represents a silent following
e.
6. Individual tengwar can be used instead of these combination letters. Ex. ahte: cR1Í , ¦FÎ.
* – These tengwar are not shown in Text II.
32
Old English Mode Tehtar/Modifier Marks
Mark With Tengwa With Short Carrier Over Long Carrier
Short æ | a – as in: Long æ | a – as in:
C
Preceding | Following
iE æ | a – as in: hwæt | Avallon `C hwæt | Avallon ~C Sǽ | þás
Following æ | a – as in: Short æ | a – as in:
Ó 8Ñ hwæt | Avallon `Ó hwæt | Avallon
Short a | e – as in: Long a | e – as in:
V
Preceding | Following
iR a | e – as in: Avallon | Zigure `V Avallon | Zigure ~V þás | swé
Following a | e – as in: Short a | e – as in:
‹ 8Š Avallon | Zigure `‹ Avallon | Zigure
Preceding | Following i – as Short i – as in: Long i – as in:
B iT in: `B cyning ~B swíðe
cyning
Following i – as in: Short i – as in:
Ê 8Ê cyning `Ê cyning
Preceding | Following u – as Short u – as in: Long u – as in:
N iY in: `N wuldor ~N úp
wuldor
Following X | u – as in: Short X | u – as in:
å 8å wuldor `ç wuldor
Preceding | Following o – as Short o – as in: Long o – as in:
M iU in: `M heorte ~M stó
heorte
Following X | o – as in: Short X | o – as in:
” 8’ heorte `” heorte
e | æ sound – as in: Long e | ae – as in:
×
Preceding | Following
iÕ e | æ – as in: Eresse | hwæt `× Eresse | hwæt ~× swé | Sǽ
Following e | æ – as in: e | æ sound – as in:
Ï 8Í Eresse | hwæt `Ï Eresse | hwæt
Preceding | Following y – as y sound – as in: y sound – as in:
ë ié in: cyning `ë cyning ~ë ?
(Not Shown)
Preceding n or m sound – as As in most modes this
in: represents x – as in:
i[ ende
z| weox
[
Doubles the length – as in:
„ 8„ Eresse
Following s – as in: facnes
+ 6+ Variants on the S-curl: j_ or z| or 5Å or 6£
Makes the tehta above a
ÿ Xü% tengwa long – as in: Sǽ
(Seen in Text II only)
NOTES:
The value on the left of the | is from Text I, the value on the right is from Text II. Where there is no | the value is common to both
texts. Under curls were not used in Text I, hence the reason for the X in the Text I/under curl locations above.
In Old English vowels that could be written on a long carrier typically have an accent as in Sǽ (8Ôý)
Read order: Text I – Over-tehta/tengwa/under-tehta. Text II – Tengwa/over-tehta/under-tehta.
33
Old English Mode Details
Overview
When a consonant is followed by a vowel, the tehta can be placed above or below the tengwa.
se: *F , 8Š , 8$
If a consonant is followed by two vowels the first is written above the tengwa, the second below it.
weorulde: 7RT6HmF
When a tehta can't be placed on a tengwa it is written on a carrier. A vowel/diphthong at the start of a word
would be written on a carrier also. (Above and below if needed)
ælfwine: `×jr7G5$
Long vowels are usually placed on a long carrier, but they can also be placed above a tengwa with a small
carrier beneath.
þas: !~C8 , !Dý8
The Old English mode is designed to be written phonetically. The diphthong “ea” for example, “ea” sounds like
“æ a” so that is how it should be written. Similarly, if an “f” is located inside a word it is pronounced “v”.
eafera: `×ÓrR6E
The only times that the Old English mode is not written phonetically is when a “s” occurs inside a word
(pronounced “z”), but is still written “s”. There is only one exception in Text I where k is used for the medial
“s”. Also in one case the diphthong ea is written out “e+a” rather than “ae+a”.
gearde: fÌ6R2Ì.
To double an “n” or “m” you must use the overbar rather than the double under accents.
þonne: 35{&Ì not 35&ƒ`×
As you can see writing in this mode can become very busy, here are a few more samples that help illustrate how
crowded some words can become.
weox swiðe: 7RRýz| 87Tý4$
hæalecran: 9ÑÖÿjRz6E5
When hand-written in words such as the above, it is not uncommon for an undercurl to cross the tail of a tengwa
such as 7 , as seen in the above example “weorulde”.
34
Old English Mode Details
Further Samples of Note
ende: 2{ÔÌ
cyning: z5èx{%
ealle: `Cj‚RÍ
In this case the “L” is doubled by placing the doubling marks inside the bow rather than underneath as might be
expected, while typically this is the case with the “L” it is worth noting that this is a rare case where we see
three tehtar placed on one tengwa.
Note the positions of the tehtar in these examples, they show the ways that tehta could be placed on a tengwa.
Combination Characters
The tengwar § , ¦ & f are formed by combining two tengwa into one using: d1 , c1 & 8f.
Punctuation
The following three symbols are the only punctuation shown in this mode.
— Ampersand sign (and)
= Comma, end of statement/paragraph
«» Quotes, used to indicate words written in a foreign language or mode.
35
Tengwar Numerals and Numbering Methods
The first method for writing numbers with the Tengwar is just by placing a dot or a bar above a tengwa. The
tengwa that is used is decided by its position in the Tengwar Chart.
1T or 1[ = 1 qT or q[ = 2 nT or n[ = 24
This method is used exclusively with things such as numbered lists, it would not for example be used to express
a date or a quantity.
For all other types of numbers, a full set of digits was developed:
ð 0 ñ 1 ò 2 ó 3
à Alt #1
ô 4 õ 5 ö 6 ÷ 7
œ Alt #6
ø 8 ù 9
ú/.
10 (A)
û/®
11 (B)
The alternate/variant numbers are only seen in the 3rd King’s Letter
In Tolkiens’ world the numbers were placed in reverse order with the least significant (units) digit on the left,
instead of on the right. For example 5236 would be written as:
öóòõ = 6325
Most writers though use the standard method with the units digit on the right:
õòóö = 5236
Also in this system dots or overbars are commonly placed above the digits to make them standout as numbers.
Both dots and overbars should not be used at the same time.
õ%ò%ó%ö% or õìòìóìöì not õ%ìò%ìó%ìö%ì = 5236 (The overbars are commonly all joined together to form
one line)
Two additional digits were occasionally used to form a duodecimal system. In a Base-12 system single digits
are used to represent the numbers 10 and 11. So to write in Base-12, convert the normal Base-10 number to 12
and then replace the digits with their Tengwar equivalents.
10 = A = ú 11 = B = û 12 = 10 = ñð
or… 8487 = 4AB3 = ôúûó or óûúô
Typically when using the duodecimal system an open dot was placed under the units digit to identify it as a
Base-12 number.
ôúûó˜ or ó˜ûúô = 4AB3 or 3BA4
In the duodecimal system it was not uncommon for dots to be placed under the digits, just as dots or bars are
placed above in the decimal system. However in the duodecimal system bars are still placed above, not below.
ó˜ûÉúÉôÉ or ó˜ìûìúìôì not ó˜ìûÉìúÉìôìÉ = 3BA4
36
Guidelines for Writing
Revised: November 2002
Common questions when using the tengwar are: “How do I write this word, or that vowel combination?” The
answer is very simple: however you want. Chances are that so long as you follow some general guidelines and
use commonly recognized tengwar and tehtar in your inscriptions, it will be readable by another person. The
goal of this document is to layout those general guidelines.
Note: Typically I use ß to represent a long-A (though not always).
Topics covered in this article:
1. The R-rule
2. Phonetic/Alphabetic Writing
3. Which Tengwa to use
4. Switching Vowel Marks
5. Unusual Tehtar
6. Long and Short Carriers
7. Using Y’s
8. S-Curls
9. Diphthongs & Complex Vowels
10. Compound Consonants
11. Over/Under Bars
12. Other Issues
1. The R-rule
The R-rule is the name given to the practice of using 7 before vowels and 6 before consonants and at the end of
words. For example:
Car: z6E
Red: 72$
It is strongly encouraged that the R-rule be followed, however there is certainly precedence for ignoring it.
Christopher Tolkien only rarely followed the R-rule in his inscriptions. Therefore the writer can choose whether
to use, ignore, or reverse the R-rule. For example:
Car: z7E
Red: 62$
2. Phonetic/Alphabetic Writing
To write phonetically, alphabetically, or in a mixture is completely left up to the writer. Most writers tend to
closely follow English spelling when writing, but sometimes when writing names it can be helpful to write them
phonetically. Likewise some prefer to write phonetically and only alphabetically when encountering a large or
difficult word. Generally speaking phonetic writing can be difficult to read because of pronunciation differences
between people. Some examples:
Once: y5^+ , 5^8É Washed: ydE2$ , ydEÉ2 , ydE2 Arrow: 7'E~N , 7'EyY
Age: s#È , x#È Vision: rf%`B5^ , riT`B5^ , r,T`B5^ Reign: 7lR5 , 7lRx5
Beige: wfÜÈ , wsÜÈ , w`Vx%È Know: 5yY , 5~Ny , z5yY , z5~Ny Answer: i[E6R ,
i[Ey6R
As: ,E , iE Sure: 87UÉ , d7UÉ Gnome: 5t^È , x5t^È
Enough: 5$.He , 5$.Hv , 5$.Hx9 , 5$.Hx½ not 5$.HX
37
3. Which Tengwa to use
You as the writer, when multiple tengwar are available can choose which tengwa to use based solely on your
personal tastes. The S-values for example: 8 was used most of the time, when space was needed above i could
be used, and if space was needed both above and below ] was used. This is part of what can make the Tengwar
such a versatile writing system. Here is an example:
Once: 5^]É , 5^8É , 5^+È , 5^iÉ , 5^] , 5^8 , 5^i , i{YÉ , i{Y , ][YÉ , ][Y , 5^]`V
, 5^8`V , etc.
As a side note there are two revised tengwar for S: * & I. These allow the writer to place tehtar marks inside
the tengwa for preceding values, without having to use: i or ]. K is a revised tengwa for Z. For example:
Once: *[HÉ
The Modifier Symbols represent a type of short hand notation for a preceding N/M sound or for the doubling of
a consonant. For beginning writers, or for simplified reading it is sometimes desirable to write out the consonant
rather than use the over/under bars. However, it should be said that this is only officially done in the English
Modes of Beleriand.
Once: 5^8É , ][YÉ
Toss: 1iY8 , 1i'Y (1I'Y)
4. Switching Vowel Marks
The recommended marks for vowels are: V for E, B for I, N for O, M for U. However the writer can choose
to reverse the marks for E & I, and O & U.
Edit: 2$1T , 2%1R
Kite: z1TÊ , z1RÊ
Open: qY5$ , qU5$ , qY5% , qU5%
Cut: z1U , z1Y
I: ~B , ~V , `B , `V
In addition the curls can occasionally be set at different angles. These are very rarely seen (thankfully), and
mostly in handwritten samples done by beginners, or writers looking to add some variety to their inscriptions.
It is generally best if you do not use these alternate curls, it can make reading more difficult.
38
5. Unusual Tehtar
Generally speaking using under tehtar marks should be avoided. The tehtar that are commonly shown in under
positions are: Ë for a silent following E, Ó for a following A, ç for a following O. Following tehtar should
not be used if there is a tengwa that it could be placed over instead. The exception being a vowel combination
such as in “Earth” where it is commonly written underneath the carrier. This can serve to assist in making a
word easier to read.
While Tolkien does not use any tehtar for a following U, some writers use mirrored curls for this. However, this
practice should be avoided. On occasion new writers will use the under dot for a following I, or an under accent
for a following E or I, those practices are definitely incorrect and must be avoided.
When it comes to doubling tehtar, Tolkien says that it was only usually done with the accent and curls. He does
not rule out doubling the A-tehta or the I-tehta. Doubling the A-tehta can make a word or tengwa seem
crowded. I recommend using the ^ for a long-A rather than a doubled tehta. Christopher Tolkien does show
doubling of the I-tehta in several inscriptions. For example: the word “deed” has a double dot above it (CJRT
reverses the E and I tehtar). Using the double dots is discouraged because it could be confused with the double
dots used in other modes (Sindarin) where it represents a following Y.
Doubled under tehtar are not shown in any official inscription, however like with following U’s some writers
will occasionally use various doubled under tehta marks. This is incorrect and should not be done. Rather than
doing this, you should use a carrier, or place the doubled marks over the next tengwa.
39
6. Long and Short Carriers
Placing a tehta above a short carrier and using it to represent a long sound is incorrect, and must be avoided.
The only time it is acceptable to do this is when space is wanted below for a following mark.
Eat: ~V1E , `VRÓ1 Kite: z~B1É , z1TÉ Foe: e`NË , e~N
Eat: `VÓ1 (confusing) Kite: z`B1É (incorrect)
Likewise, placing a tehta on a long carrier and using it to represent a short sound is also incorrect. Beginning
writers most commonly make mistakes like these.
Kit: z1T , z`B1 Kit: z~B1 (incorrect)
Seen: 85$R , 8~V5 , 85$ , 8`VR5 Seen: 8`V5 (incorrect)
Even: r$F5$ , ~Vr5$ , r$5$ , `VRr5$ Even: `Vr5$ (incorrect)
Placing doubled tehta on long carriers is generally discouraged because it can lead to some confusion when
reading. Some use the doubled tehtar to represent “super long” vowel sounds that are not normally found in
English. Mostly though they are used to show double vowels as in:
Seen: 8~RV5 (discouraged) Oocyte: ~YN81ÉÙ – pronounced: O-O-cyte (“super long” vowel)
Book: w~YNz (discouraged) Employee: q[RjhY~V – Not a “super long” vowel
On occasion you will see a writer place tehtar on carriers in sequence, rather than write them over a tengwa. The
result is an inscription that is closer to alphabetic writing. There are examples of this in inscriptions by Tolkien,
however it is best not to make extensive use of this. Multiple tehtar should not be written over a single tengwa.
Seen: 8`V`V5 Wait: y1#G (incorrect)
Earth: `V`C63 Earth: `R C63 (incorrect)
Book: w~N~Nz (incorrect, should not use long carriers)
7. Using Y’s
Writers will typically have their own method of using Y’s, this could include the use of ~V & ~B for the sound
as in history, or the use of the tehta Û and the tengwar l & h (consonantal or vowel). Convention however
recommends using l for diphthongs or consonantal Y’s only, and h for final or variant Y’s such as in history.
× & Ï should not be used in English.
History: 9iT17Yh , 9iT17Y~V , 9iT17Y~B , 9iT17Y`Û Hybrid: 9~Ûw72% , 9~Bw72%
History: 9iT17Y~Û , 9iT17Yl (discouraged) Hybrid: 9wØ72% (discouraged)
Yak: lzE Dihybrid: 2~B9~Ûw72%
Yak: hzE , `ÛzE , ~ÛzE , `ÛÓz (discouraged) Dihybrid: 2~B9~Bw72%
(discouraged)
System: 8iÙ1t$ , 8iG1t$ , 8l81t$ Dihybrid: 2~Û9~Ûw72% (incorrect)
System: 8h81t$ (discouraged) Eye: lRÉ , hRÉ
By: w~Û , w~B Eye: hÕÉ , hÕ , lÕ , ~B`ÛË
(discouraged, doubled I tehta)
By: w`Û (discouraged) Eye: ~B , ~B~Û (incorrect)
Boy: wlH , whY They: 3lF , 3hR
Boy: w`N~Û (incorrect) They: 3`V~Û , 3~Û , 3~C (incorrect)
40
8. S-Curls
The S-curl is a modifier symbol not a tengwa, but CJRT did place tehtar marks on the S-curl. It is best not to
make extensive use of this though, as it can lead to some confusion when reading. An S-curl cannot be placed
on a tengwa in a medial position, unless it is to form an X [ks] and then only the “hook” is used. Nor can an S-
curl be placed on a carrier or used by itself. Here various ways in which S-curls have been used.
9. Diphthongs & Complex Vowels
The writer can choose how to write diphthongs and other complex vowel sounds. Although the writer should
choose a method that allows the reader to easily understand words.
Bait: w~ß1T , w1Ý , w`C1T , wlR1 , w`ß1T You: lyY , l.H , hyY , h.H
Great: x7`V1Ý , x7`VÓ1 , x7É1Ý , x71Ý , x7lR1 Point: qlY1[ , q`N1[T
Eight: lRX1 , XÜ1 , `VX%1 Paul: q.Ej , qjE , q`CjU
May: t~ß , thE , thÝ , tlR Auburn: .Ew6U5 , `Cw&6U5 , w#6U5
Earth: `V6E3 , `VÓ63 Blue: wj`MË , wj.É , wj.F
Pair: q`C6T , qÒ6T , q6- Eugenics: .Fx5$zT¢ , ~Mx5$zT¢ ,
`Vçx5$zT¢
Account: z'E.Y1[ , z'E`N1[U Eugenics: `Ë~Mx5$zT¢ (incorrect)
Would: y.Yj2 , y`Nj&2 Goad: x~N2# , x`NÓ2
Eat: ~V1E , `VÓ1 Miscellaneous: t]T'jR°5Ü~V.H+ ,
t]G'jR°5Ü~V`NiU
Nation: 51Ý`Bç5 , 51Ý`B5^ Miscellaneous: t]G'jR°5Ü~ViU ,
t]T'jR°5Ü~V`Nç8
Ion: ~B5^ , `Bç5 Wound: y.E2{ , y.Y2{ , y`C2{& ,
y`Cç2{ (Note 1A)
Beige: wfÜÈ , w~CfÈ , w`Vf%È , wlRfÈ Wound: y.Y2{ , y`N2{& ,
y`Nç2{ (Note 1B)
English Diphthong Chart
ai – as in: ei – as in: oi – as in:
i-glide lE traitor/bait lR their/bait/
they
lY point/boy
au – as in: eu – as in: ou – as in:
u-glide .E Paul .R blue .Y count
The ei diphthong commonly has a long-a sound such as you would find in “they” and is occasionally used for the ey ending.
lE , we only see this used by CJRT. A lot of writers use lR for the ai in “bait”. I prefer lE , it seems more concise to me, but
for the “ai”-type sound these two can be interchanged.
Most of these diphthongal forms are only rarely used. The most common are lR & .Y.
NOTES:
1. A. As in: Wound-up tight. B. As in: Wounded animal.
41
10. Compound Consonants
The writer can choose how to represent complex consonantal sounds such as: TH\DH, NG, X, Q.
TH\DH: Since the TH\DH sounds are so close, some writers ignore the distinction and use one of the two
tengwar for this sound.
Thigh: 3X% , 4X%
Thy: 4~Û , 3~Û
NG: Writers can represent NG in several ways using any appropriate tengwar.
King: zb% , zg%
King: zx{% (incorrect)
Finger: ex{%6R
Finger: eb%6$ (discouraged)
Finger: eg%6$ , eb%x6R (incorrect)
X: An X sound is always represented by [KS]. Although there are several ways to write [KS], the only way it
should be written is by: z|.
Fox: ez|Y Xenon: ,5$5^
Fox: ez¢^ , ez+^ (incorrect) Xenon: z|5$5^ (discouraged)
Faxes: ez|EiR Exxon: z|R5^ , z|ïR5^
Faxes: ezÝ¢R , ezE|¢R (incorrect) Exxon: z|Rz|5^ (incorrect)
Q: Q (qu) is generally represented by [kw]: zy, z., c and some use n. Occasionally someone will use the W-
tehta from the Mode of Beleriand.
Queen: zy~V5 , z.~V5 , n~V5 , c~V5 , zé~V5 (discouraged)
GH: By far the most common GH sound in English is as it occurs in high.
High: 9X%
High: 9v% (incorrect)
Ghost: viY1 , x½iY1 , x9iY1
Ghost: XiY1 (incorrect)
KH: The tengwa for the KH sound tends to be ignored by most writers. CJRT did not use it either, he used ½
after the K tengwa, or just the K tengwa to represent this sound. As seen when he writes his own name.
Chris: z7iT , c7iT , z½7iT
Chris: z97iT (discouraged)
Scholar: 8zjY6E , 8cjY6E , 8z½jY6E
42
Splits: With the occasional exception of NG, splitting compound consonants is considered to be incorrect and
must not be done.
Them: 3t$ , 4t$ The: @ Of the: W"
Them: 19t$ , 1½t$ (incorrect) The: 4È (incorrect) Of the: r^ 4È , W @ (incorrect)
Shoe: d`NË Of: W High: 9X%
Shoe: 89`NË , 8½`NË (incorrect) Of: r^ , eY (incorrect) High: 9x%9 , 9x%½
(incorrect)
What: o1E , y½1E (occasionally you will see the “weak h” represented this way.)
What: y91E (incorrect)
11. Over/Under Bars
When using an overbar it must represent an immediately preceding n or m sound. An overbar must not be
placed above a tehta mark to show a sound preceding the tehta, over a carrier, or on an S-curl.
Nor: 56Y Name: 5tÜÈ
Nor: 6Yî , 6[Y (incorrect) Name: `Ó[tÈ , `[t#È , t#îìÈ (incorrect)
Pans: q5#+ Hiss: 9iT' (9IT')
Pans: q+[E (incorrect - Note 1) Hiss:9+' L (incorrect)
When a double N or M is needed it is recommended that an underbar be used rather than an overbar. There can
be some difficulty in reading when using an overbar. Using an underbar beneath a short carrier to make a
long/double vowel is incorrect as well.
Mammoth: tt"#3Y Aaron: ~C75^
Mammoth: tt{#3Y (discouraged) Aaron: `C'75^ (incorrect)
Name: 5tÜÈ
Name: 5`C'tÈ (incorrect)
If preferred, an over/under tilde may be used in place of an over/under bar.
Camp: zqpE
Mammoth: tt:#3Y
12. Other Issues
Short Hand: A few shorthand characters are used with the Tengwar, the final two were introduced by fans.
The: @ And: 2{ , 2{É
Of: W In the: @{% , @{
Of the: W" And the: @{# , @{
NOTE:
1. For a better look at this see “Pans” on P. 40.
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Placing Tehta/Modifier Marks on the L-tengwa: Any tehta/modifier mark that would normally be placed under
the tengwa, can in the case of the L-tengwa be placed inside.
The Under-dot: The under-dot is used for the following-e. Typically it is only used for a word final and silent e.
We do however see CJRT use it for a medial pronounced e. However that usage is discouraged since it means
using an under mark when there is space available over the next tengwa (§5 P.38).
Save: 8rÜÈ Return: 71R6U5 Return: 7É16U5 (discouraged)
Miscellaneous: We occasionally see both JRRT and CJRT switch the y and .. Using y as a replacement for . is
strongly discouraged because of some of the confusion that could occur when reading.
Down: 2yY5 Count: z.H1[ , zyY1[ You: l.H , lyH
Down: 2.H5 War: y6E , .6E
The word miscellaneous has two consecutive, but different S sounds. The sound difference can be
acknowledged or ignored.
Miscellaneous: t]T'j°R5Ü~V.Y+
Miscellaneous: tiT8j°R5Ü~V.Y+
Sometimes a tehta can be placed and read as though it followed the tengwa it’s placed above. When this is done
it’s to avoid having to place a carrier after the tengwa in a word-final position. Doing this should be avoided.
This: 4T+ Too: 1^H Was: yÑ+
This: 4iT , 4`B8 Too: 1~N , 1`N`N Was: y,E , yiE
Is there anything you would like to see clarified or added to this document? If so send me a letter:
clmc3129@interlinklc.net
www.geocities.com/tengwar2001/
Comments and corrections are, as always welcomed.