LotR -- Book 1 - Chapter 07 - In the House of Tom Bombadil

[HerenIstarion]

This post, due to considerable lack of time, will be brief and a bit jumpy (but I promise to come out with a bit about Tom and his versified speech in the next chapter discussion. I will probably include the following as the part of the post to come, as incantation in question is repeated in chapter 8 too):

The last verse in davem's post re:

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

So, Tom controls water, earth and fire inside his boundaries, but not air. (hey, who said poetry is dumb? who dares to skip the verses in LoTR. You! Yes, you! Detention!). 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? I probably may argue that Bombadil is all of them together, i.e. earth spirit (by hill + marriage to river daugher, scenery reminiscent (or so I'm told) of Oxford countryside), a bit of a Maia (Gandalf as his equal and rolling stones, but that will be jumping before the train, as it comes out by the end of the book), a bit of Eru (omnipotence inside his land, the incanantatio he uses to wake hobbits - chapter 8, 'I will not step outside') etc. 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 stop here.

So far so good

As for the Light in Frodo's face and Ring in his Voice, I doubt the light and ring are to oppose each other as symbols of Good and Evil. True to alleged jumpiness, and due to proclaimed busyness, I will refrain from discourse at the spot, but merely direct you to the following:

Concerning Elf-Friends

Cheers

[Fingolfin II]

Fordim said:

Here Goldberry reveals that she is more than ordinarily perceptive. She sees the full Frodo in her first glance: the good (elf-friend) and the evil (the ring in his voice).

That's an extremely good pick up, Fordim. Also just let me add that I think it works both ways- I think that Frodo's 'elvishness' and his burden are beginning to show more on his physical characteristics, and that we can see this stated explicitly sometimes (i.e. when he looks at himself in the mirror in Rivendell).

I never knew that Goldberry generated so much interest for lots of people- to me it was Tom who was more interesting, and I assumed that whatever he was (i.e. Maia, spirit, etc.) Goldberry was too; I must make it my mission to read The Adventures. At first when I heard it was a collection of poems, and I skim read one, I thought it was very "babyish" (it was similar to Sam's poem about the trolls), but now I've come to love the more "babyish" or "hobbitish" of Tolkien's poems as much as, or even more than, his more serious, darker ones. Goldberry is certainly an very interesting lady, to say the least.

[davem]

Originally Posted by Heren-Istarion

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?

Indeed, & why invoke him by the plants of the forest & not the animals? Also, in the light of Tom's songs - which seem to be the source (or perhaps the means of 'channelling') his power - Tom seems able to overcome his foes because 'his songs are stronger songs, & his feet are faster'. My take on this is that Tom's songs are 'stronger' because they are true songs, coming out of his own experience. The songs of the Barrow Wight & OMW are 'false', & cannot stand against Tom's. Also, does the reference to his feet being faster refer to his tendency to dance as well as sing - its his song & his dance that his power manifests itself.

Secondly, if when Frodo puts on the Ring he 'passes into the otherworld', & so cannot be seen in this one, does that mean that Tom (who can see Frodo clearly when he wears the Ring).like the High Elves, also lives in both worlds at once?

Finally (as far as I remember), only three of Frodo's dreams are given in detail (if we don't count 'Frodo's Dreme, that is) - one at Crickhollow, & the other two under Tom's roof - ie, the first happens as Frodo prepares to enter the Old Forest, the second while he is on the edge of it & the third as he prepares to leave it, one dream on each successive night. Does this relate to the dreamlike nature of the Old Forest - even during daytime being in the OF is dreamlike, & being there (or in the vicinity) seems to intensify an individual's dream experiences. Flieger classifies the first dream, of the tower, as 'psychological', the second, of Gandalf at Orthanc, as 'psychic' - he is witnessing an actual event - albeit one that actually happened some days prior to Frodo's dream of it, & the third dream, of the grey rain-curtain & the far green country, as 'spiritual'. In each successive dream Frodo goes 'deeper'.

[Fingolfin II]

Davem said:

Secondly, if when Frodo puts on the Ring he 'passes into the otherworld', & so cannot be seen in this one, does that mean that Tom (who can see Frodo clearly when he wears the Ring).like the High Elves, also lives in both worlds at once?

Ah, now that's a very interesting possibility- one that I hadn't seen before. To me, it suggests one of two things- that Tom lived in the Blessed Realm before he came to dwell near Buckland, or that he just has the sight of the 'Ringwraith world'. Gandalf said that those who have dwelt in Valinor live in both world at once, so I think we can safely assume that is true. If it is, that means that Tom was an 'outsider' in the sense that he came to Middle-Earth from the Blessed Realm, which further deepens the mystery of his origin, which I do not wish to debate as Aiwendil has already covered it above, and there are plenty of threads discussing this.

[Fordim Hedgethistle]

Tom's ability to see Frodo even when he's on 'the other side' only makes sense in light of what we've been saying about Tom here -- he is either a manifestation of (in a literary sense) or spirit from the natural world, so of course he would be able to see everything that exists in nature. If putting on the Ring placed one in a different natural order, then this would mean that Sauron had succeeded in an act of creation that was on par with Eru -- that is, in creating a 'world' of his own.

The fact that Tom can still Frodo when he is invisible to others is proof positive that the Ring is part of a perverted or subverted nature that Sauron has managed to twist to his own purposes, not the gateway to a whole other realm.

[Bêthberry]

Just popping in for a brief comment on the passage which HerenIstarion has discussed. (A pleasure to see you back, HI, even if briefly.)

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!

Before I point out something about the last line, I want to provide this short preamble. Literary allusions can be a conundrum. What role do they play in helping readers interpret passages? Who are they meant for? If readers don't "see" or "get" the allusion, is the meaning lost? Or can it be ascertained elsewhere in the text? And when is an allusion "really" there? If I see a resemblance which another reader does not, what matters that?

"Come, Tom Bombadil, for our need is near us!"

Tom teaches the hobbits to sing this, the lesson placed significantly at the end of our current chapter. And, of course, when the hobbits do get into trouble with the nasty barrow wight, Frodo recalls the verse and sings it, in effect summoning Tom's help to save them from the wight.

So, what's the allusion here? Well, the line reminds me of a line from a well-known Psalm, in a passage which for me is familiar because I have seen it used in other English texts.

Psalm 22: 1, 11.

My God, my God, why hst thou forsaken me? why art thou so far from helping me, and from the words of my roaring?

. . .

Be not far from me; for trouble is near; for there is none to help.

The psalm provides an eloquent and evocative description of the physical sensations of fear and affliction and succour in the lyric rhythm for which psalms--songs--are revered. Do I think this means Tom is Eru? No. But there is an elemental cry for help to one who is master of himself, the Ring, and his realm.

[Rimbaud]

...so apologies, Madame Bb-fly.

But reverie led me to wonder what the limits of this little charm were. How far away from TB's house would be too far? And what if Sam and Frodo sang the song simultaneously but a mile apart. Hmm? I had a wonderful image of a group of school-uniformed children with clipboards and pens studiously measuring how far they were from the house each time they sang the song, and a flustered-looking Tom constantly capering hither and thither as they made notes...

Facetiousness aside, isn't TB in this instance another example of Tolkien's get-out clauses? These include Eagles, Armies of Dead etc...

Impishly,

~Rim