By Thomas Honegger
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Extra info for Translating Tolkien: Text and Film (Cormare Series, No. 6)
NT's solution is instead almost invariably to use younger-generation language. This is despite the fact that not only is Frodo socially superior, but also older than Sam (50 years, to be precise; Sam, on the other hand, at 38 has barely come of age), something that is often overlooked especially after the choice of actors for the movie trilogy became known; this difference in age is lost by the verbal depiction of their social relations in NT. However, even the movies (the German versions of which use OT after all, despite the fact that Klett-Cotta produced a special edition for the movie - "Sonderausgabe zum Film" - of NT in paperback) preserve the social relations between Frodo and Sam.
A general indication of such overall stylistic matters is forms of address, especially those between persons of unequal social standing. " Frodo and Galadriel are not of the same social standing: one is a (socially rather insignificant) hobbit, the other is a 9,000-year-old elven queen, one of the few Noldor still remaining in Middle-earth who have seen the light of the Trees. It may be for Galadriel to level this social difference by allowing Frodo a more intimate form of address, but it is certainly not for Frodo to impinge on her like that.
The SL reader then decodes the text and tries to understand the text producer's intentions. This SL text recipient, in case of the translator, then becomes the new text producer, creating a derived text on the basis of the SL text. Whatever the text producer's original intention was, the translator's is now different: it is to render the text understandable (and acceptable) to the text recipient the translator is writing for. Thus, the translator has to understand not only intention and situation of the text producer, but also has to take into ac- 1 On the basis of this broader classification, it might be a good idea to adopt the larger system of classification as presented by Sager (1991).