It’s hard to compare episodes when you haven’t seen them in a while, but I think “And Now His Watch Is Ended” was easily one of the best of the series—certainly the best of the season. Some comments before getting to the language bits.
The story with Varys was an invention (him finding that sorcerer), but I liked it. As my wife said, it’s been evident in the show that he’s really good at getting information and managing tense social situations, but he’s never felt as threatening as he feels in the book—always a little bit softer. This is tangible evidence of his potential for malice.
And, good lord, my Tywin Lannister! I honestly can’t decide which I like best: Tywin from the books, or Tywin on the show. They’re appreciably different, and equally incredible. And this time his top highlight was a single word: Contribute. The thing I love about Tywin as a character is how intractable he is. Everyone manages to manipulate everyone else, and everybody makes mistakes, but no matter what he does, it was always the right decision—and it’s always everybody else that screws up. It would be monstrous to have him as a father—or really to have any dealings with him whatsoever—and I think that’s part of what makes it so enjoyable to watch him be so tyrannical—especially with those who get away with murder elsewhere in the series.
The dust up at Craster’s had both me and my wife running to the web, because neither of us remembered Jeor Mormont getting stabbed. And yet, there it was, just as in the books. The bits north of the wall almost remind me of a horror movie—where the Night’s Watch start out taking every precaution as they venture northward, and tiny almost insignificant mistakes end up seeing these guys drop dead one by one.
Oh, and Jack Gleeson had me cackling the whole time, with his awkward excitement at Margaery’s patronizing him. And looking like he’s never waved before! What an actor that guy is!
But anyway, there was quite a bit of Valyrian this episode, including our first High Valyrian of the series (outside of valar morghūlis and drakarys). It begins with a long speech by Kraznys that kind of gets cut up a bit as Missandei translates; I don’t know if you hear a lot of it. After the short exchange, Dany passes off Drogon and asks if it’s done. Missandei relays this:
- Pindas lu sa sir tida.
- “She asks if it is now done.”
Then Kraznys tells her that it is:
- Sa tida. Pelos ji qlony. J’aspo eza zya azantyr.
- “It is done. She holds the whip. The bitch has her army.”
And then thinks get messy.
So when I was originally reading the books, I kind of foresaw what happens next. First, I always imagined that the dragons would be bigger, and so shortly after she agrees to the deal, I thought, “You can give someone a dragon the way you can give them a lion.” Seriously, what’s he going to do? And it’s not like anyone alive has ever seen a dragon except those directly connected to Dany—and certainly no one other than her has ever managed to tame one. Just how did he think he was going to “own” it?
And then the Unsullied! I mean, sure, I guess he might think that she would honor their agreement, but if she has an 8,000 person trained army that’s 100% loyal to her and no one else has anything but guards…? It doesn’t take a military genius to calculate the possibilities here.
Anyway, even though I kind of saw that coming when I was reading the books, by now, I, of course, have read all the books, so I actually know what’s coming; it’s just a matter of how it will look on screen. There are a large number of folks that haven’t read the books and only know the story from the show—and I’ve been following their chatter on Twitter. A lot of people were upset with how callous and insulting Kraznys is—especially when he’s insulting the Dothraki. I’d love to know what it was like to watch this episode if you really didn’t know what was coming. That experience must’ve been incredible.
As it was, the scene was outstanding. I was delighted by Emilia Clarke’s performance. She really does speak High Valyrian like a natural. She missed a word or two here or there, but such will happen. Overall, I’m extraordinarily pleased. I’m going to try to go through all the lines, but it’s going to take me a bit (Final Draft doesn’t allow characters with macrons, so there are no long vowels in the script. I’ll have to do a bit of back and forth to get it right). Anyway, Dany gives the following orders to her new army:
- Dovaogēdys! Naejot memēbātās! Kelītīs!
- “Unsullied! Forward march! Halt!”
Of note here is that High Valyrian distinguishes between singular and plural commands. The commands here are plural, as Dovaogēdys is plural, rather than collective.
Then we have a little more Astapori Valyrian from Kraznys, who evidently hasn’t been paying much attention (#distractedbydragon):
- Ivetra j’aspo zya dyni do majis.
- “Tell the bitch her beast won’t come.”
And then Dany’s comeback:
- Zaldrīzes buzdari iksos daor.
- “A dragon is not a slave.”
Of note here: the word for dragon, zaldrīzes. Also, buzdari is stressed on the second syllable even though the a is not long because this isn’t actually a High Valyrian word: It’s an Astapori word that Dany is using on purpose. The High Valyrian word for slave is dohaeriros (whose root you may recognize), but the word they use in Astapor is buzdar, which has its roots in Ghiscari. Dany uses his own word so he’ll know that she knows. (And, by the way, since it’s a borrowing, it goes into the borrowed declension class, which means its accusative ends in -i.) And, indeed, Kraznys now gets it:
- Ydra ji Valyre?
- “You speak Valyrian?”
And then we get, perhaps, my favorite Daenerys line:
- Nyke Daenerys Jelmāzmo hen Targārio Lentrot, hen Valyrio Uēpo ānogār iksan. Valyrio muño ēngos ñuhys issa.
- “I am Daenerys Stormborn of the House Targaryen, of the blood of Old Valyria. Valyrian is my mother tongue.”
(Note: Those who were participating in a previous discussion may want to look at the precise spelling of Daenerys. I guess it has been decided! Forgot about that.)
Then comes quite a long bit of High Valyrian for Dany:
- Dovaogēdys! Āeksia ossēnātās, menti ossēnātās, qilōni pilos lue vale tolvie ossēnātās, yn riñe dōre ōdrikātās. Urnet luo buzdaro tolvio belma pryjātās!
- “Unsullied! Slay the masters, slay the soldiers, slay every man who holds a whip, but harm no child. Strike the chains off every slave you see!”
And then we get Kraznys’ last lines of the show:
- Nyk skan jiva aeske! Zer sena! Zer sena!
- “I am your master! Kill her! Kill her!”
And then Dany says one of the High Valyrian words we already knew, and then comes the sweet, sweet carnage.
What a scene… My hat is off to Dave and Dan. They’ve done great work, and continue to raise the bar.
At the end, Dany says most of the following:
- Jevo glaesoti rȳ buzdari istiat. Kesy tubi jemot dāervi tepan.
- “You have been slaves all your life. Today I give you freedom.”
- Henujagon jaelza lua vala mirre henujagon kostas, se daorys ziry ōdrikilza. Jemot kivio ñuhe tepan.
- “Any man who wishes to leave may leave, and no one will harm him. I give you my word.”
- Yne sytivīlībilāt? Hae dāero valoti?
- “Will you fight for me? As free men?”
I don’t think I missed any long vowels above, but I may have (and if so, I’m sure we’ll get them sorted eventually).
I hope you enjoyed the episode as much as I did. It was an absolute joy to work on High Valyrian, and now that I’ve heard Emilia speak it, I can say that I’m really pleased with the results. I’m also greatly appreciative of the talents of Dan Hildebrand: the latest fallen soldier from Game of Thrones. When I was imagining Kraznys, I was imagining a coarse, revolting, unmannered oaf of a slave master. Dan did the exact opposite of this. His Kraznys is well-cultivated, and speaks with an easy almost callous casualness. It makes his insulting behavior that much more shocking, in my opinion. He seems like a guy who would do well in mixed company, so the fact that he can be so horribly insulting to someone standing right in front of him gives you a totally different picture of what it means to be a slave master in Astapor. He’s so powerful that he simply doesn’t need to care what anyone thinks of him, and it probably never occurs to him that anything he does could be wrong. You did a remarkable job, Dan, and I couldn’t be happier with the way you tackled Astapori Valyrian. Kirimvose!
So now there’s a good batch of High Valyrian (and Astapori Valyrian) material there to work with. When looking at High Valyrian—especially the sentences with relative clauses—bear in mind that, in most important respects, High Valyrian is head-final. Relative clauses are a bit tough—or backwards—for anyone speaking a Western language.
Four down and six to go! Plenty of Valyrian yet to come. Thanks for reading!
[WARNING: There are spoilers from the premiere below. If you haven't yet seen the premiere and don't want to suffer through any spoilers, come back to this post after you've seen it.]
The long awaited season three premiere of Game of Thrones has arrived, leaving fans wondering: How long till season four? Heh, heh…
I hope you enjoyed the premiere! I was quite taken with it. In particular, I liked watching socially awkward penguin Jon Snow flub it up beyond the wall (seriously, if I were Mance Rayder, I would’ve killed that tokik). Absolutely loved Natalie Dormer as Margaery Tyrell getting down and dirty with the common folk. She’s tearing that role up. And seeing Joffrey in his little cage was priceless. He looks so consternated—like my cat when she brings me her string, and I remain sitting at the computer. “Wha—what are you doing?! Don’t you see the string? And me? And me and the string?!” Poor kitty! She remains ever hopeful.
One thing I’ve always liked is that Benioff and Weiss are never shy about including meta moments in the series. If you’ll recall, in my review of the season finale of last season, I commented on Tyrion’s scar. In the book, Tyrion’s scar is described as being horribly disfiguring (like, half his nose is missing). They couldn’t really make Peter Dinklage hideous, though. So what would they do? As I commented last time, I thought the scar was well done: Not too bad, but by no means insignificant. Lest there be any complaints, though (was there? Were there any fans of the books complaining that Tyrion’s scar wasn’t bad enough?), D&D had Cersei comment directly on his scar—saying herself that it’s not that bad.
Of course, my favorite scene from the show was Tyrion and Tywin. I’m not sure how widely known it is, but Tywin Lannister is, far and away, my favorite character from the book series. Every scene with him in it is outstanding, but the scenes with him and Tyrion together are the best the book series has to offer. The scene in yesterday’s premiere lived up to the hype (well, hype probably only generated and felt by me). Just wonderful. Tyrion is always so self-assure, and is always quite smart (on display with his brief meeting with Cersei in this one), but he is absolutely flummoxed by Tywin. Tywin is Tyrion’s kryptonite, and Charles Dance is playing him beautifully. I can’t wait to see more of this as the season progresses!
But back to the point of this blog, let us talk about the Dothraki in this episode. The Dothraki on Dany’s boat did some wonderful Dothraki groaning and retching as they lurched about the rhaggat eveth. That was all me.
Seriously, though, be prepared for almost no Dothraki whatsoever this season. It’s not gone (there’s at least one short scene with at least one full line of Dothraki), but Dothraki is last season’s news (well, and the season before that. I wish English had a dual…). This season we get to see the one language that fans of the book series actually wanted to see: High Valyrian.
But not yet.
In fact, the only High Valyrian in the premiere was the title (a call back to the title of last year’s finale). The language spoken in the scene with Daenerys, Kraznys and Missandei is a descendant of High Valyrian which I call various things: Astapori Valyrian, Ghiscari Valyrian, Low Valyrian, Valyrian… The name doesn’t matter so much as what it is, which I’ll endeavor to explain here.
According to ancient lore, the Ghiscari Empire fell some 5,000 years prior to the time of action in A Song of Ice and Fire. The empire warred five times with the Valyrian Empire, ultimately falling each time because the Valyrians had dragons. After the fifth war, the Valyrians decimated the old city of Ghis, burning down the buildings and salting the earth so that none would ever return.
So what happened then? Well, Ghiscari had been the language of the empire. As the diaspora spread, the Valyrian Empire took over (until its untimely fall several thousand years later), and the High Valyrian language supplanted the Ghiscari language.
Naturally, what would have happened is that the residents of Slaver’s Bay who spoke Ghiscari would have gradually moved over to High Valyrian, creolizing it along the way. It seems likely that an aristocratic class would have maintained a working knowledge of actual High Valyrian to use with emissaries from the Valyrian Empire, but the day-to-day language would have evolved in a way similar to French or Spanish (i.e. not like either of those languages, but evolving in the way that those languages evolved from Latin). I contend that this evolution would have been separate from the independent evolution of Valyrian in the Valyrian Freehold.
Of course, when it comes to a name, it seems likely they all would have referred to this as the same thing: Valyrian. It wouldn’t matter that denizens of Slaver’s Bay spoke in a different from those in the Valyrian Freehold—or that neither group spoke the same way as their ancestors: They’d all just be speaking Valyrian, if you asked them. (Recall that there was no such thing as High Valyrian until there was a Low Valyrian.)
Whether the varieties of Valyrian spoken in Astapor, Yunkai and Meereen are different enough to be considered separate languages or dialect of a single language is a bit academic. It seems to me that they would likely be able to communicate with one another, but that the language systems will have grown apart. Even if they were different languages, they could probably meet at some middle ground to communicate. Out of world, this could be referred to as Ghiscari Valyrian, but I think it’d be more accurate to refer to each one separately (i.e. Astapori Valyrian, Yunkish Valyrian and Meereenese Valyrian).
This explanation has served to produce the following point: What you hear in the premiere is Astapori Valyrian. It’s descended from High Valyrian, with the old Ghiscari language serving as a substrate or basilectal influence. It’s not mutually intelligible with High Valyrian, but it is close to some of the languages of the Free Cities, on account of separate but similar evolutionary changes (which we didn’t talk about here [and by "we" I mean "I"]).
To give you an example, here’s a line from last night’s episode (one of Missandei’s):
- J’azanty ivetras ji vali nedhinki sizi zughilis vi murgho.
- “The knight says that even the brave men fear death.”
And here’s what that sentence looks like in High Valyrian:
- Morghot nēdyssy sesīr zūgusy azantys vestras.
This post is getting a bit long, so I better bring it to a close, but if you’d like to see some Dothraki, go check out the @GameOfThrones Twitter account today (edit: tomorrow at the time of publication. Oops!). Happy April Fools’!
[Edit: Bleh. I made a baby typo (should've been zūgusy not zūguksy, which is what it was originally. Unfortunately zūguksy is, in fact, a licit form of the verb, which was really throwing me for a loop, but it's also one letter off from the correct form in this case, so it was obviously just a typo (was probably looking at the wrong field).]
I’ve just recently come back from ConDor (which was wonderful), and ran into a wall of work. While I negotiate that, though, I’d like to do a couple of things here.
First, Dothraki regular Esploranto has started translating posts on this blog into Spanish! I can’t tell you how excited I am (and, by the way, if anyone else is interested in translating these posts, go for it!), but I’ve run into a technical issue—specifically, how to add these translations to the blog. It’d be odd to post them as new posts (since they’re translations of old posts), and odder still to post them directly after the posts they’re translations of (if I get more translations, there could be, e.g., a single day with like eight posts). What I think would be ideal is if I could add a button to each post that would automatically swap out the original content with the translation. Anyone have any idea how I might accomplish this?
If I can’t come up with a clever solution, what I may do is assign all these posts to some older year (say, a hundred years prior to the original post) and provide a link on each post to the other, plus a note on the translation telling readers when the original post was posted. It’s not an ideal solution, but it’ll allow me to host the content without cluttering up the original run of posts.
Oh, and as a note, I really wouldn’t like to maintain two blogs with the same content, if I can avoid it. I’ve been having enough trouble keeping all my WordPress blogs up to date; I’m loathe to start another.
Second, I got a comment a while back from Aniko asking for the Dothraki translation of the following phrase: Dare to live; it’s easy to die. Let me take some time to translate that.
Step 1 is taking care of the word I didn’t have: dare. Turns out, the English word “dare” goes all the way back to Proto-Indo-European with its meaning mostly in tact (not many words do that). I would’ve been on solid footing to simply coin a new root for Dothraki meaning “dare”, but it didn’t feel right. Right now the word I’d use for “brave” or “courageous” is vezhven. The word has other uses, but it also covers those areas of English’s vocabulary. The idea behind “dare” is to invest one’s courage (whether wise or not) in some enterprise. Many languages have a word related to “brave” they use for “dare”. I wanted to include that tie with Dothraki, but could have done it in a number of ways.
While vezhvenat is a verb, it’s really stative in nature. “To dare” is more of an activity, and I didn’t like any of the options available to me to make vezhvenat more active. In browsing the vocabulary, I came across one item I’d use before to turn vash, “stampede”, into a verb: lanat ki vashi, “to stampede”. I really like this construction, and want to use it more. Thus was born: lanat ki vezhi, “to dare” (and also “to be brave”).
I’m not sure quite how to explain it, but ki is used here to mean “like” or “as” instead of ven, which we’d ordinarily expect. Ven seems more utilitarian, more concrete (it’s certainly a younger preposition), while ki makes the connection seem closer. I think one could actually say lanat ven vezh, to literally say something like Me lan ven vezh, “He ran like a stallion”, but lanat ki vezhi means “to dare”.
Having settled that, this is how I would translate the phrase:
- Lanas ki vezhi thirataan; me disie, jin drivolat.
Obviously do what you will with the punctuation. That said, there are different options here, so let me walk you through them one by one:
- The first verb (lanas) is in the informal imperative. If you’d like it to read more formally, you can change lanas to lani.
- The first clause is “Dare to live”. You can change it up, though, and say Lanas ki vezhi athiraraan, which is saying the same thing in a slightly different way (maybe something like “Dare to go towards life”?). Either construction is acceptable.
- There are a number of ways to say this last bit. One way is to say Athdrivozar disie, which is literally “Death is easy”. (Note: In the original, you can switch out drivolat for athdrivozar if you like the original construction but prefer the verbal noun.)
- Another way to say that same thing is to use the infinitive: Drivolat disie. That would be like saying “To die is easy”.
- And, of course, there are two slightly different words for death at play here. Drivat (and its verbal noun form athdrivar) means “to be dead”. This is a stative verb and describes the state of being dead. Drivolat (and its verbal noun form athdrivozar) means “to die”. So which verb or verbal noun you use depends on what you want to say: Is being dead easy, or is dying easy? Now that I look at it, it’s probably the former, not the latter, in which case you’d want to switch to drivat/athdrivar.
That, though, should give you an idea of what the issues are, and should help you decide what direction you want to go in. Either way, when your tattoo is done, take a picture and send it my way! I’ll put it up here on the blog.
To those in America, Happy Thanksgiving! To those in Canada, Happy Thanksgiving about a month ago! To those elsewhere, happy day!
Something that may have been asked before but which I didn’t address was a Dothraki word for turkey. It seems to me that there would be no turkeys in Essos, if it was modeled after Eurasia (it seems like Westeros was modeled after North America, and Essos Eurasia, or something close to that), which would mean there would be no native word for turkey. If it were to be borrowed, it’d probably be borrowed from Westeros through one of the languages of the western coast of Essos. And since the Common Tongue is spoken in Westeros, it’d probably come out as “turkey” (or something based on it).
Thanks to Abe Simpson of The Simpsons, though, we do have a handy compound for turkey we can calque: a walking bird. A Dothraki calque for that would be zir ifay. In fact, we can put that together and get zirifay. That works pretty nicely.
So, to one and all, allow me to say: Asshekhi Zirifayi Vezhvena! Stay safe, and may the Cowboys lose (after Miles Austin gets two touchdowns. I need this win in fantasy)!
That’s my nearest approximation of “quick hits”. A chiftikh is a word for a strike (with a blade) that we might describe as a “glancing blow” in English—a nick. Only a flesh wound.
A friend of mine—and one of the Old Guard conlangers—Barry Garcia has taken recently to conscripting (minus the conlanging), and this past week he wrote up a version of the numbers one through ten (and also one hundred) in Dothraki. Here’s what they look like:
That’s 1-5. Now for the rest:
The numeral glyphs above are from his own script, and the writing below is a transliterated form of the Dothraki words (i.e. at, akat, sen, etc.) The glyphs at the beginning and end are used to demarcate paragraphs or set off quotes. If I know my modern “literary” press publications right (Vintage, I’m looking at you), the English equivalent would be:
Since I introduced one at the beginning of this post, now might be as good a time as any to discuss sword fighting (or arakh fighting) terminology in Dothraki. While there are basic words like “to cut” and “to stab” in Dothraki, there are also a series of specific terms used for types of sword strikes one employs in a fight. They’re all derived in the same fashion from native animal terminology. Since we’ve already seen chiftikh, I’ll use that as my example.
A chiftikh is a weak or glancing blow with a sword—something that was intended to hit, but missed the mark (or, perhaps, was too weak to do much damage). It derives from the word chifti, which means “cricket”. To use it in a sentence, you use the verb ildat, “to strike”. The direct object, then, is the type of strike, rather than the one struck. To indicate the one who is struck, you include an allative object (optional), and if you wish to mention the weapon used, you can include an ablative object (also optional). Thus, if you wanted to say the equivalent of (I think this is the best way to word this in English), “I fetched him a glancing blow with my arakh”, you would say:
- Anha ilde chiftikh maan arakhoon anni.
And there you have it. Below I’ll list the various ildo (i.e. “sword strikes”), along with the animal they’re associated with and their meaning:
|chifti “cricket”||chiftikh||A weak hit or glancing blow.|
|gezri “snake”||gezrikh||A feint (a strike intended to throw the opponent off and disguise one’s true intent).|
|hlizif “bear”||hlizifikh||A wild but powerful strike (effective if it lands, but relatively inaccurate).|
|hrakkar “lion”||hrakkarikh||A quick, powerful and accurate strike.|
|kolver “eagle”||kolverikh||A straight sword thrust (middling and relatively uncommon).|
|ver “wolf”||verikh||A defensive strike intended to back an opponent off, but not necessarily to land.|
As a framework, this isn’t intended to encompass swordsmanship (or arakhsmanship) in any way. These are just older terms that are intended to be employed in discussing a sword fight. They’re not meant to run the gamut of sword fighting terminology, or to dictate a particular style: they’re just there to make discussion move along a bit more easily.
And you may also notice that the word for “eagle” up there drew its inspiration from Stephen Colbert. I felt I needed a word for “eagle”, and in searching for a phonological form to fit it, I decided that Stephen Colbert embodied eagleness quite well. As his last name fit Dothraki’s syllable structure rather nicely, the word for “eagle” became kolber—or, at least, in the oldest form of the language. In modern Dothraki, it, of course, comes out as kolver, with the older b changing to v, but if the t can become silent on account of a historical sound change, I figure a change from a stop to a fricative shouldn’t be all that alarming.
I’m off to Chicago on Thursday! If I get any good pictures, I’ll be sure to post them here. Fonas chek!