[HerenIstarion]

‘Fog on the BD’ is the part of the book discussion of which I would not have missed for worlds (Even though nobody is likely to come up at my place and offer me worlds just to keep me out of it anyway, ).

I won’t take much of your time, since I do not intend to go through whole of the chapter, still more there are people around better qualified for a feat.

Yet some parts of it I can not let go unattended to. The verses (you may have noted my crash on Tolkien’s poetry before that, heh) are of extreme importance here, as well as throughout the whole bulk of the text, and, as is Tolkien’s brandmark, the importance is well hidden – the verses roll by without catching one’s attention on the first read, and it requires some turning back an reflecting upon to catch up on what’s really going on and what is it all about. I believe you won’t be bothered overmuch, since I’m not going to give you metric analyses or something, just textual one...

So far with preliminaries, let us turn to the matter at hand now.

There are seven versified occurrences in the chapter. Whether that has any significance, I can not tell, but with Tolkien one is always in doubt, so much of meaning the man puts into his words. Therefore, let us just say [as unconfirmed, but probably meaningful fact] that there are seven poems in the Chapter.

First to occur is the incantation the Wight chants over hobbits:

Cold be hand and heart and bone,
and cold be sleep under stone:
never mare to wake on stony bed,
never, till the Sun fails and the Moon is dead.
In the black wind the stars shall die,
and still on gold here let them lie,
till the dark lord lifts his hand
over dead sea and withered land

As in the previous chapter, it seems to me that all occurrences of incantations of the kind hint at ‘historical background’ of the LoTR in general, refer to Silmarillion, and to Christianity. Bear with me a bit to learn why.

I believe the whole cycle of poems in the chapter repeats on the minor scale the creative Music of the Valar. For, as the world was ‘sung’ into being with words, so words remain the medium of power, and require music to empower them some more. (That applies to all ‘songs of power’ – to the Wight, and to Bombadil likewise) Exact wording does not matter, but the concepts they deal with is what counts:

till the Sun fails and the Moon is dead.
In the black wind the stars shall die

This incantation is very much like to the ‘song-contest’ which takes place between Sauron and Felagund in the FA. Just compare:

[Sauron] He chanted a song of wizardry,
Of piercing, opening, of treachery,
Revealing, uncovering, betraying.

and more directly related:

The wind wails,
The wolf howls. The ravens flee.

Felagund answers with:

[Felagund]Sang in a song of staying,
Resisting, battling against power,
Of secrets kept, strength like a tower,
And trust unbroken, freedom, escape;

The concepts employed are alike, but in LoTR, the operation is more direct, i.e., there is no application of concepts as concepts (staying, resisting), but more specific of ‘none has ever caught him’ (= resisting), ‘he’s the master’, which may be ultimately drawn to ‘staying’ (after all, Tom always stays inside his boundaries!) etc... Taka a glance:

Old Tom Bombadil is a merry fellow,
Bright blue his jacket is, and his boots are yellow.
None has ever caught him yet, for Tom, he is the master:
His songs are stronger songs, and his feet are faster

Probable hint at ‘who is Tom Bombadil’ may be found in the incantation he teaches hobbits to entreat him to their aid:

Ho! Tom Bombadil, Tom Bombadillo!
By water, wood and hill, by the reed and willow,
By fire, sun and moon, harken now and hear us!
Come, Tom Bombadil, for our need is near us!

Hobbits must implore to nature elements to summon him. May it be he is nature spirit? (though yours truly leans over to the ‘ëalar theory’, or all of the mixed up). Interesting too is that three out of four are mentioned: earth, water, fire, but not air. Why, one should ask? In addition to this one may reflect upon the following:

I am no weather-master

(by the end of the previous chapter)

So, Tom controls water, earth and fire inside his boundaries, but not air. That’s why Bombadil may not be Manwe (as I’ve heard some say. But merely earth spirit is not enough – what about water and fire, than? But, er, well, before I go too far along the road of Tom’s origin, let me refer you to burra’s excellent Derry Dol, Indeed thread and come back to my poetry business.

Let me say that all of the above was a prologue. The most imortant (one of the two) of the verses of the chapter is the incantation Tom chants to drive the Wight away:

Get out, you old Wight! Vanish in the sunlight!
Shrivel like the cold mist, like the winds go wailing,
Out into the barren lands far beyond the mountains!
Come never here again! Leave your barrow empty!
Lost and forgotten be, darker than the darkness,
Where gates stand for ever shut, till the world is mended.

Emphasis mine. What does it say to my ear, is that:

1. There are some gates that are shut (reference to Morgoth thrown out, I believe)
2. One day the world will change (reference to Arda Remade)

Ultimately, both statements also refer to Christian Myth, but refer to it as it is to happen in the future of ME, not as if it has already took place.

Another of importance is the incantation to bring hobbits back to life:

Wake now my merry tads! Wake and hear me calling!
Warm now be heart and limb! The cold stone is fallen;
Dark door is standing wid; dead hand is broken.
Night under Night is flown, and the Gate is open!

I wished to add emphases to selected symbols, but could not decide which to choose, as the whole poem is entirely set up of Christian symbols. Look for yourselves

The two ending poems are less complicated:

Hey! now! Come hoy now! Whither do you wander?
Up, down, near or far, here, there or yonder?
Sharp-ears, Wise-nose, Swish-tail and Bumpkin,
White-socks my little lad, and old Fatty Lumpkin!

Though one used to Tolkien’s subtleties may imagine (Christian) shepherd symbolism here too. So it may be argued that, alongside being a nature spirit, a bit of a maia (as Gandalf refers to him as to his equal, but that chapter is yet a long way off to bring it here), he is also just another hint at Christ to be found a-plenty throughout the LoTR (Aragorn, Frodo) (and, as Hilde Bracegirdle puts up a theory by the end of previous chapter discussion (post #45), may be a symbol of ‘perfect’ ‘unfallen’ creature too)
The last verse though sets the limit of Tom’s power, once again to remind us he’s not omnipotent (and so he can not be Eru Himself, as I’ve heard another part of mentioned ‘some’ say, but hint at Him):

Tom's country ends here: he will not pass the borders.
Tom has his house to mind, and Goldberry is waiting!

My country ends here too, and I will not pass the borders unless my mind changes

cheers