Tengwar

The name Fëanorian refers to more than one character, item or concept. For a list of other meanings, see Fëanorian (disambiguation) "Fëanorian (disambiguation)") . "The Tengwar" table by J.R.R. Tolkien in Appendix E : "The table shows, informal book-hand shape, all the letters that were commonly used in the West-lands in the Third Age". Unlike Rúmil, Fëanor considered vowels as independent sounds and not just “colours” of the consonants, so he devised the “full writing” (Quanta Sarmë ).[[5]]( However, Fëanor also used a more 'conservative' system which seemed to have proved far more popular; he also held Rúmil's idea of syllabic analysis of the words by the Sarati and made use of tehtar instead of the full letters.[[5]]( The classical Quenya mode of the Tengwar may have originated from Fëanor's own arrangement. There is no direct evidence for this hypothesis, but the use of the Quenya names for the individual letters hints to a primate of the Quenya mode. Another hint to a very old age of the classical Quenya mode is that it uses the Calmatéma as a k-series, like the mode of Beleriand which we can assume to have originated in the First Age. When the Noldor rebelled and came to Middle-earth , they adapted their writing for the new languages they learned. Quanta Sarmë was used for languages where the tehtar were not useful[[5]]( which could have been the origin for the Mode of Beleriand. We know from the inscription on the West-gate of Moria that a Tengwar mode called the Mode of Beleriand was used in Eregion . This name allows for the assumption that the same mode was used already in the First Age . At the end of the Third Age , the Elves of Rivendell probably still used that mode, since a transcription of the Rivendell aerlinn A Elbereth Gilthoniel features it.[[7]]( Frodo, however, even though literate in Sindarin, was apparently unable to read this mode. By the end of the Third Age, there was a general use that could be used for a variety of languages including Quenya, Sindarin and the Common Speech.[[8]]( This use could have evolved during the Second Age in Eregion or even in Númenor . It is not certain whether the whole mode itself was from Eregion or simply just the script was of an Elvish fashion. Some Adûnaic words use this mode.[[11]]( Another mode that was based on the "general use" but used full letters for the representation of vowels was used in the Northern part of the Westron -speaking regions, perhaps by influence of the Elves of Rivendell . This might explain why Frodo was unable to read either the Mode of Beleriand or the Ring Inscription. The most notable characteristic of the Tengwar script is that the shapes of the letters correspond to the features of the sounds they represent. The shape of the Tengwar uniformly consisted of two elements, the telco (stem) to which is attached a lúva (bow). It is noticeable that some of the letters of the Sarati resembled the telco/lúva shape seen on the Tengwar. Therefore it is possible that those particular letters influenced stylistically the Tengwar. All the above combinations can create 32 to 40 different shapes of letters. These shapes mirrored phonological significances: the basic form of a tengwa was used for the patakar , the voiceless stops; telcor determined how the sound was articulated, and the lúvar where in the mouth it was made: Doubling the bow turns the voiceless consonant into a voiced one. Raising the stem above the line turns it into the corresponding fricative or a corresponding voiced version of it. Shortening it (so it is only the height of the bow) indicates the corresponding nasal or, mostly, the approximants. According to their shape, the 32 different glyphs could be arranged and presented consistently on a table. The principal letters are divided into series ( témar ) that correspond to the main places of articulation and into six rows ( tyeller ) that correspond to the main manners of articulation. Both vary among modes. The tabl