natgillin/translations-raw huggingface dataset:
Det var den balrog, som Gandalf kæmpede med og i sidste ende besejrede efter 10 dages kamp.
It was the Balrog that Gandalf had fought and eventually defeated after ten days of fighting.
Men balroggen har et klart forbillede i den norrøne litteratur i skikkelse af ild-jætten Surt, der betyder ”Den sorte”.
But the Balrog has a clear predecessor in Norse literature in the form of fire-giant Surtr, which means “the black one” or “the swarthy one”.
Jætten er ildens hersker og vogter i Muspelheim, der er et brændende rige af ild og tæt knyttet til den vulkanske underverden.
The giant is the master of fire and guardian of Muspelheim, a burning realm of fire, closely linked to the volcanic underworld.
Han kommer fra syd og har forbindelse til ild.
He comes from the south and is connected to fire.
I VafϷrúðnismál (saga) står der, at Surt skal slås mod guderne, og at Surt bruger ilden som våben.
In VafϷrúðnismál (saga), it says that Surtr has to fight the gods and that Surtr uses fire as a weapon.
Ved Ragnarok vil Surt være omgivet af brændende ild, og hans sværd vil lyse kraftigere end solen.
At Ragnarok, Surtr will be surrounded by burning fire, and his sword will shine brighter than the sun.
Balroggen er simpelthen ildjætten Surt.
The Balrog is quite simply the fire giant Surtr.
Begge er de væsner af underverdenen og mørket, men samtidig et ild-uhyre.
Both are creatures of the underworld and the dark, and at the same time fire monsters.
De har begge ildvåben, hhv. en ildpisk og et ildsværd.
They both carry fiery weapons – a fiery whip and a flaming sword respectively.
Begge vil kæmpe mod mægtige personer – Surt mod guderne og balroggen mod Gandalf den Grå.
Both will fight powerful people – Surtr, the gods and the Balrog, Gandalf the Grey.
Der er næppe tvivl om, at 2. verdenskrig fungerede som et bagtæppe for udviklingen af historien ligesom Tolkiens egne oplevelser i skyttegravene under 1. verdenskrig gjorde det.
There is little doubt that the Second World War served as a backdrop for the development of the story, just as Tolkien’s own experiences in the trenches during the First World War had done before it.
Krigen var også en del af rammefortællingen i f.eks. C.S. Lewis bøger om Narnia.
The war was also part of the framework of the story in, for example, C.S. Lewis’ books about Narnia.
Tolkien har selv på det skarpeste taget afstand fra sammenligningen med begivenhederne i hans univers og i den virkelige verden.
However, Tolkien himself denounced comparison of the events in his universe to those in the real world.
Han ønskede på ingen måde at skabe en allegori over sin samtids begivenheder.
He did not in any way wish to make an allegory of contemporary events.
I sine breve forklarer han, at han altid har foragtet allegorier.
In his letters, he explains that he has always despised allegories.
Tolkien ønskede selv, at historien skulle kunne opmuntre til egne tolkninger og refleksioner.
Tolkien wanted the story to encourage the readers’ own interpretations and reflections.
Skulle man endelig pege på en konkret baggrund for Tolkiens bevidste forsøg på at skabe en mytisk fortidsverden, så var ikke så meget begivenhederne under 2. verdenskrig, som det var en reaktion på opløsningen af det britiske imperium, forfatteren beklagede.
If a concrete reason for Tolkien’s conscious attempt to create a mythical ancient world has to be pinpointed, it was not so much the events of the Second World War, but a reaction to the dissolution of the British Empire, which the the author deplored.
På den måde er Tolkiens værk meget mere bagudrettet end fremadskuende.
So in this respect, Tolkien’s work is much more retrospective than forward-looking.
På trods af, at man i middelalderen mente at leve i en moderne tid, var det med en klar forventning om, at Jesus på et tidspunkt ville komme tilbage for at dømme levende og døde.
Despite the fact that the Middle Ages were considered a modern era at the time, there was a clear expectation that Jesus would eventually return to judge the living and the dead.
Verden var gammel!
The world was old!
Et udtryk man finder både i de middelalderlige kilder og i Ringenes Herre.
An expression one finds both in the medieval sources and in The Lord of the Rings.
Den middelalderlige mystiker Joakim af Fiore (1135-1202) inddelte verden i tre aldre: Faderens, sønnens og helligåndens.
The medieval mystic Joachim of Fiore (1135–1202) divided the world into three ages: The Age of the Father, the Age of Son and the Age of the Holy Spirit.
Den sidste alder ville begynde i 1260 – en tanke kirken i øvrigt i dag fortsat betegner som kættersk.
The last age would begin in 1260 – an idea the Church still considers heretical.
En række middelalderlige historier og legender indeholder derudover tanken om, hvordan en konge vil vende tilbage.
A number of medieval stories and legends also include the concept that a king will return.
De mest kendte er historierne om Kong Arthur og Karl den Store.
The best known are the stories of King Arthur and Charlemagne.
Kong Arthur er en legendarisk engelsk konge fra 500-tallet, men hvorvidt han rent faktisk har eksisteret er uvist.
King Arthur is a legendary English king from the 6th century, but whether he ever actually existed is unknown.
Han optræder i ældre digtning som en stor kriger, der bekæmper både naturlige og overnaturlige fjender af det engelske kongerige.
He can be found in older poetry as a great warrior who battles the natural and supernatural enemies of the British crown.
I 1100-tallet dukker der en hel litteratur op om Arthur og ridderne af det runde bord og deres søgen efter den hellige gral.
In the 12th century, a whole body of literature emerges about Arthur and the Knights of the Round Table and their quest for the Holy Grail.
Den litteratur har i mange henseender bidraget til Tolkiens univers.
This literature has in many ways contributed to Tolkien’s universe.
En række legender fortalte i middelalderen om, hvordan Karl den Store – frankisk kejser i begyndelsen af 800-tallet – ville vende tilbage og hjælpe med at besejre kristendommens fjender.
A number of legends in the Middle Ages told of how Charlemagne, the Frankish emperor in the early 9th century, would come back and help defeat the enemies of Christianity.
I Danmark var der ikke tale om en konge, men om en af Karl den Stores helte, nemlig den mægtige kriger Holger Danske.
In Denmark, it was not a king, but of one of Charlemagne’s heroes, the mighty warrior Holger Danske (Ogier the Dane).
I 1500-tallet mente man, at Holger Danske havde erobret alle landene fra Jerusalem i verdens midte til paradis i øst og omvendt dem til den kristne tro.
In the 16th century, Holger Danske was believed to have conquered all the countries from Jerusalem at the centre of the world, to paradise in the east, and converted them to the Christian faith.
Historierne om Holger Danskes bedrifter blev vidt udbredte på Christian 2.s tid, hvor hans hofhistoriker Christiern Pedersen sad og arbejdede med dem.
The stories of Holger Danske’s feats were widespread in Christian II’s time when the court historian Christiern Pedersen sat working with them.
Han kom frem til, at Christian 2. var en direkte efterkommer af den gamle proto-korsfarer.
He deduced that Christian II was a direct descendant of the old proto-crusader.
Legenden fortalte at den nu sovende Holger Danske ville vågne og komme Danmark til undsætning i nødens time.
The legend went that the slumbering Holger Danske would awaken and come to the rescue of Denmark in the hour of need.
I første halvdel af 1800-tallet knyttede folkemindesamleren J. M. Thiele historien til Kronborg, hvor Holger Danske sidder i dag.
In the early 19th century, folklorist J.M. Thiele linked the story to Kronborg, where Holger Danske sits to this day.
Forestillingen om, at kongen vender tilbage eller at det gamle riges pragt kan genopstå i en ny skikkelse, er også en middelalderlig tanke.
The notion that the king will return, or that the former glory of the kingdom may be restored in a new form, is also a medieval notion.
I middelalderen talte man om translatio imperii, altså at imperiet blev overført eller videreført i en ny skikkelse.
In the Middle Ages, there was talk of translatio imperii, i.e. that the empire would be transferred or continued in a new form.
Det gamle romerrige blev først delt i to – en østlig og en vestlig del i 400-tallet.
The ancient Roman Empire was first divided into two – an eastern section and a western section – in the 5th century.
Den sidste kejser i vest døde i 476 og først med kroningen af Kejser Karl den Store i år 800, blev det vestromerske rige genetableret.
The last emperor of the west died in 476 and the Western Roman Empire was not re-established until Charlemagne was crowned emperor in 800.
I midten af 900-tallet overgik kejserværdigheden til de tysk-romerske kejsere.
In the mid-10th century, the imperial dignity passed to the Holy Roman Emperors.
Imperiet var gået under og genrejst igen.
The empire had fallen and risen again.
Parallellen kan her ses til Aragorn, der genskaber det gamle númenoriske rige, da han sætter sig på tronen i Gondor efter ringkrigen.
Parallels can be drawn here to Aragorn, who restores the old Numenoric kingdom when he sits on the throne in Gondor after the War of the Ring.
Tolkien har selv sammenlignet Gondor med det østromerske imperium (Byzans), der bestod helt frem til 1453.
Tolkien himself compared Gondor to the Eastern Roman Empire (Byzantine), which existed right up until 1453.
Hele forestillingen om, at kongen vender tilbage og riget genopstår, knytter sig også til tanken om genrejsningen af det britiske imperium, der brød sammen efter 2. verdenskrig.
The whole notion of the king returning, and the resurrection of the kingdom, is also linked to the idea of ​​the restoration of the British Empire, which collapsed after the Second World War.
I Tolkiens univers fortælles der om riget Angmar, hvis konge nu er ringåndernes leder (heksekongen), og om andre ældre riger, der er forsvundet.
In Tolkien’s universe, we are told about the kingdom of Angmar, whose king is now the leader of the Ring-wraiths (the Witch-King), and of other earlier empires that have disappeared.
I filmen Kongen vender tilbage søger Aragorn hjælp hos en spøgelseshær.
In The Return of the King, Aragorn seeks the help of a ghost army.
Hæren består af fordømte, der brød en ed til kong Isildur.
The army consists of the condemned, who broke an oath to King Isildur.
Sådanne spøgelseshære findes også i det middelalderlige kildemateriale, hvor de griber afgørende ind i slag.
Such ghost armies are also found in the medieval sources, where they play a significant role in battle.
Engelske krøniker fra 1100- og 1200-tallet fortæller om levende døde, der nærmest flytter ind eller erobrer forladte kirker og landsbyer.
English chronicles from the 12th and 13th centuries tell of the living dead who almost move into or seize abandoned churches and villages.
En fælles europæisk myte er historien om den vilde jagt, der i en normannisk version fra 1100-tallet (Orderic Vitalis) handler om en regulær spøgelseshær.
A common European myth is the story of the Wild Hunt which, in a Norman version from the 12th century (Orderic Vitalis chronicle), is about a regular ghost army.
I Danmark er historien knyttet til Valdemar Atterdag (1340-76) og hans vilde jagt omkring borgruinen Gurre, hvor kongen forbandet ridder med sit jagtselskab grundet en blasfemisk udtalelse.
In Denmark, the story is linked to Valdemar IV (1340–76) and his wild hunt around the ruins of Gurre Castle, where the king cursed a knight with his hunting party due to a blasphemous remark.
Historier, der også blev fortalt i skyttegravene under 1. verdenskrig, hvor Tolkien også kæmpede.
Stories were also told in the trenches during the First World War, where Tolkien also fought.
Det genkendes fra en lang række forskellige middelalderlige historier, krøniker og legender.
This is found in a long list of medieval stories, chronicles and legends.
En af de mest kendte omhandler sværdet Excalibur – sværdet i stenen.
One of the most famous is about the sword Excalibur – the Sword in the Stone.
Arthur, der ellers kommer fra ringe kår, kan som den eneste trække sværdet ud af stenen og viser således, at han er Englands næste konge.
Arthur, who otherwise comes from a poor background, is the only one who can pull the sword out of the stone, showing himself to be the next king of England.
I England indgår kong Edvard Bekenderens sværd, der er knækket af en engel for at undgå uretfærdig blodsudgydelse, stadig i den engelske kroningsceremoni.
In England, Edward the Confessor’s sword, the Sword of Mercy, which was broken by an angel to avoid unjust bloodshed, is still a part of the British coronation ceremony.
Karl den Store har ligeledes et berømt sværd Joyeuse, der ifølge Rolandskvadet (digt fra ca. år 1100) skiftede farve 30 gange om dagen.
Charlemagne also had a famous sword, “Joyeuse”, which according to the Song of Roland (poem from c. 1100) changed colour 30 times a day.
Det er siden indgået i de franske kongers kroningsceremoni.
It has since been used in the French coronation ceremony.
Ligeså berømte er Karl den Stores helte, Rolands og Holger Danske sværd, Durendal og Curtana.
Equally famous are Durendal and Curtana, the swords of Charlemagne’s heroes Roland and Holger Danske.
De siges at være smedet af samme stål.
They are said to be forged from the same steel.
Curtana skulle efter sigende oprindeligt have været Tristans (fra historien om Tristan og Isolde), der var gjort mindre, så det passede til Holger Danske.
Curtana was said to have originally belonged to Tristan (from the story of Tristan and Isolde), but was made ​​smaller to fit Holger Danske.
I Skandinavien fortæller Vølsungesaga, hvorledes Odin stikker et sværd gennem en massiv egebjælke og ingen kan få det ud, uden Sigmund, der dermed viser er gudens udvalgte kriger.
In Scandinavia, Vølsungesaga tells of how Odin sticks a sword through a solid oak beam and no one can pull it out, apart from Sigmund, thus showing himself to be the gods’ chosen warrior.
Han bliver senere dræbt af Odin i kamp, og sværdet knækker.
He is later killed by Odin in battle, and the sword breaks.
En legende fortæller, at Sigmunds søn vil vinde større hæder end noget andet menneske med det gensmedede sværd.
Legend has it that Sigmund’s son will win greater adulation than any other man with the reforged sword.
Set i et Tolkien perspektiv er der oplagte referencer til det gensmedede sværd Narsil, som Aragorn bruger til at genvinde sin kongetitel og fordrive Saurons ondskab.
Seen from a Tolkien perspective, there are obvious references to the reforged sword Narsil used by Aragorn to regain his royal title and oust Sauron’s evil.
Endelig skal nævnes den danske Prins Svend, der døde i Lilleasien under det første korstog.
Finally, there is the Danish Prince Sweyne, who died in Asia Minor during the First Crusade.
I et digt om korstoget fra 1500-tallets slutning, fortælles om den danske prins Svends sværd.
A poem about the Crusade from the late 16th century tells of the sword of the Danish Prince Sweyne.
Det blev genfundet og givet til en tysk ridder ved navn Rinaldo, der skulle hævne Svends død.
It was recovered and given to a German knight named Rinaldo to avenge the death of Sweyne.
I Rinaldos hånd blev sværdet det første kristne sværd, der kom over Jerusalems mure, da byen faldt til korsfarerne i 1099.
In Rinaldo’s hand, the sword was the first Christian sword to come over the walls of Jerusalem when the city fell to the Crusaders in 1099.
Den historie blev fuldt udnyttet af Christian 4. i Danmark (1588-1648).
The story was fully utilised by Christian IV in Denmark (1588–1648).
Han fik et stort maleri fremstillet, der viser fundet af Svends sværd.
He had a large painting done, ​​showing the discovery of Sweyne’s sword.
Det er formentligt det sværd, der indgår i den ridderlige orden, kongen indstiftede, ved navn Den Væbnede Arm.
It is probably the sword which is part of the chivalric order ordained by the king, called “Den Væbnede Arm” (the armoured arm).
Du kan besøge udstillingen om Danmarks Oldtid på Nationalmuseet i København.
You can also read about amber bears, shamans and hunting methods in the Mesolithic period.
De inddeles i to slags: Eldar og Avari.
They are divided into two types: Eldar and Avari.
Det modsvares af den nordiske mytologis beskrivelse af de to verdener Alfheim og Svartalfheim – lyselvernes og sortelvernes rige.
This corresponds to the descriptions in Norse mythology of the two worlds Alfheim and Svartalfheim – the realms of the light elves and the dark elves.
Alligevel er der forskel.
Yet there is a difference.
Den nordiske mytologi arbejder med helt op til ni forskellige verdener, imens Tolkien kun har to – menneskenes og gudernes.
Norse mythology has up to nine different worlds, but Tolkien only has two – the worlds of the people and the gods.
De indeholder til gengæld elementer fra mange forskellige mytologier.
They, on the other hand, contain elements of many different myths.
Tolkiens skabelsesberetning, som beskrives i Silmarillion, knytter an til legender og religioner fra hele den vestlige kulturkreds oprindelse.
Tolkien’s account of creation, which is described in Silmarillion, is linked to legends and religions from all over the western world.
Det er græske, romerske og kristne oprindelsesmyter, der blandes sammen.
There are Greek, Roman and Christian origin myths all mixed together.
En lang række af de elverkonger og dronninger, der beskrives i Tolkiens værk har paralleller i dette kosmos.
A great many of the elven kings and queens described in Tolkien’s work have parallels in this cosmos.
De er blot en af flere ’racer’ – mennesker, dværge, orker, hobbitter – der bebor Midgård.
They are just one of several “races” – humans, dwarves, orcs, hobbits – that inhabit Middle-earth.
Tolkien er blevet kritiseret for sin racetænkning.
Tolkien has been accused of racism.
Moderne tanker om racer knyttet sammen ved fælles blod og sprog og afgrænset af den nationale territorialstats grænser, er relativt nye tanker.
Modern ideas of races linked by common blood and language delimited by the national state boundaries are relatively new.
I middelalderen havde man forestillinger om folk – gens, natio, populus var de latinske betegnelser – der var bundet sammen af sociale fællesskaber, geografiske afgrænsninger, kulturelle normer og etnicitet.
In the Middle Ages, they had ideas about people – gens, natio, populus were the Latin names – who were bound together by social communities, geographical boundaries, cultural norms and ethnicity.
Det var også knyttet sammen med en ide om disse folks karakteristika, men det var meget forskelligt fra den moderne opfattelse.
It was also linked to an idea of ​​the characteristics of these people, but it was very different to the modern conception.
Elverne er nemlig ved at forlade verden og trække sig tilbage til landene hinsides havet.
The Elves are in fact about to leave the world and retire to the countries beyond the sea.
Oprindeligt kunne mennesket også rejse til disse lande, men de har langsomt trukket sig længere og længere tilbage, og det er ikke længere muligt for menneskene at nå dertil ved egen kraft.
Originally, humans could also travel to these countries, but they have slowly pulled further and further back, and it is no longer possible for humans to get there under their own power.
I middelalderens litteratur beskrives elvernes rige som en parallelverden side om side med menneskenes verden.
In medieval literature, the realm of the elves is described as a parallel world alongside the human world.
Det er både et fantastisk, men også farligt sted.
It is a wonderful but dangerous place.
Tolkien skriver selv:
Tolkien himself writes:
”Elvernes verden er stor, dyb og høj og fyldt med mange ting: Alle mulige dyr og fugle findes der, grænseløse have og talløse stjerner; fortryllende skønhed og allestedsnærværende fare; både glæde og sorg så skarpe som sværd.
“The Elves’ world is wide and deep and high and filled with many things: all manner of beasts and birds are found there; shoreless seas and stars uncounted; beauty that is an enchantment, and an ever-present peril; both joy and sorrow as sharp as swords.
Et menneske som har strejfet om i denne verden, kan måske regne sig for heldig, men denne rigdom og fremmedartethed slår den rejsende som ville berette om dette med stumhed.
In that realm a man may, perhaps, count himself fortunate to have wandered, but its very richness and strangeness tie the tongue of a traveller who would report them.
Og mens han opholder sig der, er det farligt for ham at stille for mange spørgsmål – at ikke porten skal smække i og nøglen blive borte.”
And while he is there, it is dangerous for him to ask too many questions, lest the gates should be shut and the keys be lost.”
For Tolkien var dette et reelt eksisterende rige.
For Tolkien, this was a realm that actually existed.
Et rige der eksisterer i det fælles tankegods og som hele tiden udvides eller udvikles, når forfatteren brygger videre på eksisterende historier og deres elementer.
A realm that exists in the common intellectual thinking and which is constantly expanded or developed when the author further brews existing stories and their elements.
Tolkiens univers er på den ene side skabt, men er samtidigt en videreudvikling af det mytologiske arvegods, der er med til at holde det i live.
Tolkien’s universe is on the one hand created, but also a further development of the mythological heritage which helps to keep it alive.
Det er del af den menneskelige natur og jo ”mere præcis og klar fornuften er, des bedre fantasiverden skaber den”.
It is part of human nature and the “more precise and clear the reason is, the better the fantasy world it creates”.
De gemytlige og fredselskende Hobbitter bliver tvunget til at forlade Herredet og blande sig i denne kamp.
The cheery, peace-loving Hobbits are being forced to leave the Shire and become involved in this battle.
På den måde er 2. verdenskrig måske alligevel ikke så langt borte, som Tolkien selv siger.
Here, the Second World War might not be quite as distant as Tolkien himself says.
Tolkien mente i øvrigt, at kommunismen var en langt større fare for Europa end nazismen.
Tolkien also felt that communism was a far greater danger to Europe than Nazism.
På den anden side er det også en eviggyldig og eksistentiel konflikt.
On the other hand, it is also a perpetual and existential conflict.
Kirkefaderen Augustin (354-430) beskrev som en kamp mellem to byer: Menneskenes by og Guds by, hvor sidstnævnte var forudbestemt til at vinde.
Church Father Augustine (354–430) described it as a battle between two cities: the city of man and the city of God, the latter of which was destined to win.
Men det var netop en kamp, der først ville slutte, når gudsriget blev en realitet.
However, it was a battle that would only end when the kingdom of God became a reality.
I middelalderen var verden befolket med mærkelige overjordiske skabninger, dæmoner og fantastiske skabninger, der kæmpede om menneskenes sjæl.
In the Middle Ages, the world was populated by strange supernatural creatures, demons and fantastic creatures, which fought for the souls of men.
Djævlen – Lucifer – er i den kristne verden netop en falden engel.
In the Christian world, the Devil – Lucifer – is a fallen angel.
Sådan er det også i Tolkiens univers, hvor Melkor er den faldne engel og Sauron en af hans disciple.
And that is how it is in Tolkien’s universe, too, where Melkor (or Morgorth) is the fallen angel and Sauron, one of his disciples.
Men betyder det, at det onde altid har været en del af Guds skaberværk?
But does that mean that evil has always been part of God’s creation?
Faren ved det spørgsmål er, at det let glider over i dualisme, altså at der eksisterer både en ond og god skaberkraft i universitet, og djævlen bliver en slags gud i sig selv og ikke blot en falden engel.
The danger with the question is that it slides easily into dualism – that is, that both evil and good forces exist in the universe, and the Devil becomes a kind of god in himself, and not just a fallen angel.