Oldest and Fatherless: The Terrible Secret of Tom Bombadil (2011)
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I might put it this way. The story is cast in terms of a good side, and a bad side, beauty against ruthless ugliness, tyranny against kingship, moderated freedom with consent against compulsion that has long lost any object save mere power, and so on; but both sides in some degree, conservative or destructive, want a measure of control. but if you have, as it were taken 'a vow of poverty', renounced control, and take your delight in things for themselves without reference to yourself, watching, observing, and to some extent knowing, then the question of the rights and wrongs of power and control might become utterly meaningless to you, and the means of power quite valueless. It is a natural pacifist view, which always arises in the mind when there is a war.
The Letters of J.R.R. Tolkien 144: To Naomi Mitchison. April 1954
I do want to credit the author of this post with the observation that the rulers of lands in Tolkien's legendarium have influence over how those lands express themselves, but I think this letter is the answer to that. Tom is the exception; he eschews power. One of Gandalf's reasons for saying that they wouldn't want to give the ring to Tom is that he would probably lose the ring, not thinking it very important. Tom only cares of eating and drinking and making merry. In that regard he is a Dionysian figure. If you read the Adventures of Tom Bombadil (which this author surprisingly doesn't reference) he is clearly modeled on the Dionysus cycle of myths.
> there's wisdom in his bones, and both his eyes are open
No proof whatsoever, of course, but just the existence of Tom Bombadil reminds us that there are people in the world (perhaps even the majority) who actually care very little about this whole "Ring" business and just go about living their lives.
It was only because of the selfless sacrifice of Frodo and Sam that any may have been able to live a life untouched by the turmoil of the reawakening of Sauron. If they had failed, nobody would have had a choice whether or not to "care" about the Ring -- they'd simply be oppressed by it.
Ultimately, I can only offer conjecture, but given what we know of Tolkein's deeply religious personal perspective, it's not difficult to imagine that his fantastic universe is pervaded by an overwhelming force of goodness that seeks to bring events to their right conclusion through divine providence.
That is, in fact, explicitly stated in The Silmarillion.
"Then Ilúvatar (the God/Yahweh creator spirit) spoke, and he said: 'Mighty are the Ainur (the angels), and mightiest among them is Melkor (Satan / the fallen angel); but that he may know, and all the Ainur, that I am Ilúvatar, those things that ye have sung, I will show them forth, that ye may see what ye have done. And thou, Melkor, shalt see that no theme may be played that hath not its uttermost source in me, nor can any alter the music in my despite. For he that attempteth this shall prove but mine instrument in the devising of things more wonderful, which he himself hath not imagined."
That being said, I thought that his appearance in the book was just a contrivance to introduce the sense that this was all middle earth, successor to an older earth older than the "old" things of Middle Earth, perhaps a purer and less subtle place.
We have such a brief time with him in the books but he's one of my favorite characters because of his hints of depth in the narrative and in himself. I think his carelessness is partially an act: sure he's old, and sure he just lives for the moment, but perhaps he knows some deeper sins he's trying to drown out with drink? Or maybe it's simply that his perspective is so long -- so much longer than, say, the elves -- that anything he encounters seems transient.
I thought that his appearance in the book was just
a contrivance to introduce the sense that this
was all middle earth, successor to an older earth
older than the "old" things of Middle Earth
Yes. On a nuts and bolts level, he has a single purpose: so that the reader knows there are things older than elves; things that elves (and maybe even wizards) don't know about.I see why many people hate Tom, particularly many engineer-types who want their fantasy worlds to be meticulously detailed and explained.
And from a traditional storytelling standpoint, he's a total dead-end with zero effect on anything else in the story.
Yet, I love him. It added to the sense of wonder and mystery in the world. Even Elrond doesn't know about this guy? Bonkers.
Tom Bombadil does not need your story of the Garden of Eden and you are invited to take it elsewhere, today.
> The Lord of the Rings is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision. That is why I have not put in, or have cut out, practically all references to anything like 'religion', to cults or practices, in the imaginary world. For the religious element is absorbed into the story and the symbolism.
This confirms, not contradicts, my own statement about Christianity "absorbing" all other mythos As If It Were Actually Christian. The acknowledgement from Tolkien is kind and generous, while the Christian theologians are somewhere in the middle, and the daily practice of socialized education is simply the opposite " no one is saved but through Christ"
pedantic, nagging insistence on "accepting primary sources" is exactly the closed-minded approach that is inevitable in lowest-common-denominator reading of the texts. unimpressive and unenlightening.. Is there really no other source of Truth than the Bible ? ask yourself
Tolkien's direct statements carry a fair bit of weight with me. His private writings were extensive, consistent, and deeply introspective.
It's as you say: primary sources aren't everything. But they're not nothing. In Tolkien's case, they're really something.
And what are the Valar? In the mythos, they are sub-creators. In Christianity God alone is the creator: angels have no part in creation.
The article draws similarity between the resurrection of Jesus and of Gandalf: but in Christianity, Jesus is literally one of the three persons of God, while Gandalf is a Maia, one of the lesser Ainur.
There are a lot of parallels drawn in that article, and I will not go through every one, but as far as I can see they are all contrived. The closest parallel is that of the rebellion of Morgoth - but there is no real equivalent of Sauron in Christianity.
It is also worth thinking about one thing that is missing. The fall of Adam would have taken place long before most of the sections of the Silmarillion, and yet there is no hint of this foundational event.
But one day Tom, he went and caught the River-daughter,
in green gown, flowing hair, sitting in the rushes,
singing old water-songs to birds upon the bushes.
He caught her, held her fast! Water rats went scuttering
reeds hissed, herons cried, and her heart was fluttering.
Said Tom Bombadil: "Here's my pretty maiden!
You shall come home with me! The table is laden...
[1]https://www.etymonline.com/word/rape#:~:text=rape%20(v.),abd....
Why do you deem my post "blind assumption", when it contained quite a bit beyond that?
Diogenes was eating bread and lentils, when Aristippus told him that if he would only be subservient to the king, he would not have to live on bread and lentils. Diogenes replied that if you learn to live on bread and lentils, then you never have to be subservient to the king.
'He destroyed the single wooden bowl he possessed on seeing a peasant boy drink from the hollow of his hands. He then exclaimed: "Fool that I am, to have been carrying superfluous baggage all this time!"'
'while Diogenes was relaxing in the morning sunlight, Alexander the Great, thrilled to meet the famous philosopher, asked if there was any favour he might do for him. Diogenes replied, "Yes, stand out of my sunlight." Alexander then declared, "If I were not Alexander, then I should wish to be Diogenes." "If I were not Diogenes, I would still wish to be Diogenes," Diogenes replied.'
'Some one took him into a magnificent house and warned him not to spit, whereupon having cleared his throat he discharged the phlegm into the man's face, being unable, he said, to find a meaner receptacle.'
The dude was a modern lunatic homeless man venerated into legend status for thousands of years.
> Those who speak do not know, those who know are silent,
> I heard this saying from the old gentleman.
> If the old gentleman was one who knew the way,
> Why did he feel able to write five thousand words?
“And those who were seen dancing were thought to be insane by those who could not hear the music.” It's funny, but if you visit some of the vagabond subreddits you can read some very Diogenes-esque philosophies. I don't think they're all crazy - there's a subset who chose that life, and I think some of them have chosen well. Diogenes wasn't mad; he could just hear the music we can't.
But there is more in the book still. Every now and then, risen from sources we can only conjecture and almost alien (one would think) to the author’s habitual imagination, figures meet us so brimming with life (not human life) that they make our sort of anguish and our sort of exaltation seem unimportant. Such is Tom Bombadil, such the unforgettable Ents. This is surely the utmost reach of invention, when an author produces what seems to be not even his own, much less anyone else’s. Is mythopoeia, after all, not the most, but the least, subjective of activities?
https://epistleofdude.wordpress.com/2018/11/17/c-s-lewis-rev...
There are many magical creatures in Middle-Earth without a described source, which to me makes the whole story feel more magic. The Ents probably being the chief example.
Another important role of Tom’s is his introduction of magic and power outside of the “good vs evil” struggle.
The Ents were made by Yavanna, in the same way that Aulë made the Dwarves, according to my memories of the Silmarillion.
They awoke at the coming of others, and they were taught speech by the Elves.
Tom Bombadil predates the story of the ring. It's placed there as a very powerful creature - still would lose to Sauron if all the world fell apart according to Glorfindel [and Gandalf doesn't object either]. That creature has no direct influence on the story, being more of a bystander... similar to the reader.
Tom Bombadil is like the Middle Earth equivalent of a Buddhist sage, just existing without wishing to be more or less than he already is.
Consider:
Perhaps Tom Bombadil represents Santa Claus? After all, Santa Claus has magical powers that utterly transcend what mortal humans can even comprehend. And yet the remains detached from worldly events, never taking a side in wars, never helping human beings during crises that could clearly benefit from his powers, etc.
The truth is that, characters like Tom (and Santa Claus -- if they are indeed not the same person) are fairly common throughout fiction and mythology.
After all, if you invent a character with absolutely transcendental superpowers, you need to explain why the character has chosen not to use those powers to i.e. cure world hunger, or end war, or whatever.
You can see this in... well, any major world religion. Notice how God never directly intervenes in the New Testament, even though he clearly could? Yeah, it's explained.
Broadly speaking Tom Bombadil is like that.
The primary function/role I'd ascribe to Bombadil is almost the same same as that of the hobbits: the common man who'd like nothing more than not being bothered with The Great Game. Just with the twist that unlike the hobbits, he actually has the means to make that a reality. Everything else, the age, the powers, the mystery, it's first of all a requirement to make that role possible in Tolkien's world. That it adds depth, mystery, hn frontpage posts, that's all just a nice side effect.
Tolkien: "But Tom Bombadil is just as he is. Just an odd ‘fact’ of that world. He won’t be explained, because as long as you are (as in this tale you are meant to be) concentrated on the Ring, he is inexplicable. But he’s there – a reminder of the truth (as I see it) that the world is so large and manifold that if you take one facet and fix your mind and heart on it, there is always something that does not come in to that story/argument/approach, and seems to belong to a larger story. But of course in another way, not that of pure story-making, Bombadil is a deliberate contrast to the Elves who are artists. But B. does not want to make, alter, devise, or control anything: just to observe and take joy in the contemplating the things that are not himself. The spirit of the [deleted: world > this earth] made aware of itself. He is more like science (utterly free from technological blemish) and history than art. He represents the complete fearlessness of that spirit when we can catch a little of it. But I do suggest that it is possible to fear (as I do) that the making artistic sub-creative spirit (of Men and Elves) is actually more potent, and can ‘fall’, and that it could in the eventual triumph of its own evil destroy the whole earth, and Bombadil and all."
https://en.wikipedia.org/wiki/Impression_of_depth_in_The_Lor...
What I appreciate about Tolkien's world is the sense of wonder I felt when reading LOTR. He explained soo many details of that world but just as crucially he was very artful about what he chose not to explain. Adding to that, Tolkien and the characters themselves seemed to share this sense of wonder. Gandalf, who knew more about the world than even the Elves, never lost his sense of wonder and reverence for things.
GRRM's fantasy world is, well... more realistic, that's for sure. Characters are mostly just trying to be king, or to fuck, or get money, or simply survive. I like those books too. And GRRM has said of course that he was explicitly trying to create something like an anti-LOTR that showed the lives of people who weren't necessarily heroes or even good people.
I like the GRRM novels but I still prefer LOTR's sense of wonder. But, nobody's wrong if they have the opposite opinion. Or if they hate both. :)
If you keep salmon jerky in your tent, that's a great appetizer and you're a convenient meal. Doesn't make the bear evil though.
As far as I know, this isn't true. Virtually all creatures and major characters in LotR have a clear source in the lore Tolkien developed. Of course, only a fraction of this lore is in LotR itself, and the rest was in notes published after his death, e.g. in The Silmarillion.
That's precisely what makes Tom Bombadil such an eye-catching exception.
>'We cannot go further tonight,' said Boromir. `Let those call it the wind who will; there are fell voices on the air; and these stones are aimed at us.' `I do call it the wind,' said Aragorn. `But that does not make what you say untrue. There are many evil and unfriendly things in the world that have little love for those that go on two legs, and yet are not in league with Sauron, but have purposes of their own. Some have been in this world longer than he.' 'Caradhras was called the Cruel, and had an ill name, said Gimli, `long years ago, when rumour of Sauron had not been heard in these lands.'
Aragorn explains that there are evils older than Sauron and we get the sense that the mountain itself may hold a prejudice against the company but this is never explained or developed elsewhere. Caradhras the Cruel doesn't appear elsewhere either. I'll add that the film unfortunately dispels this uncertainty from the original novel.
Caradhras contained Durin's Bane, a Balrog, which sufficiently explains this comment. There are certainly many evils predating Sauron, notably Morgoth.
I've been a fan of Tolkien for decades, and this doesn't match up with my experience at all...Tolkien fans seem to generally love Tom, and many were deeply disappointed that he wasn't in the movies (even though his exclusion makes perfect sense). Did I just run in different Tolkien circles than the author?
His contentment with his place, and his power. That he was here before this war, and will be here afterward.
Shire -> Buckland -> Old Forest (Tom) -> Bree -> Rivendell
Instead of:
Shire -> Bree -> Rivendell
Part of me still wished he featured; or at least the spirit of Bombadil's relationship to the ring was embodied by something/someone in the story.
And his absence from the films was remarked upon, negatively in my circles.
Yeah, same. On Tolkien forums in the early to mid 2000's, I think these were the most commented on complaints about the movies:
* No Tom Bombadil
* No Scouring of the Shire
* Movie Faramir vs book Faramir
* The Ents deciding to not help Merry and Pippin at first (tbh, this is the one that still gets me the most. It sort of ruined a key attribute of the Ents just for a tiny bit of extra tension for a short scene.)
I'm probably missing some, but those were the ones I remember coming up the most.
That the whole Sauron business was a local and temporary nuisance seems central to the roles of Tom B and the ents. The ents' complaint was, in the end, only with Saruman.
Tolkien fans seem to focus on the bit with the Ring, which is an engaging enigma without a resolution. It makes him seem very important and powerful, but the story doesn't explore it much. It's a small part of a chapter that otherwise can feel like a distraction.
So a lot of fans, I think, are happy to see him go so you can get to better developed characters like Elrond and Aragorn. There is a lot more going on in that chapter, especially if you read it closely, but I can see why a lot of people are happy to skip on to the barrow wights, where the stakes are higher. Even if the ending to it is just "Tom comes back to fix it".
Also, I submit as evidence this scifi.stackexchange thread: https://scifi.stackexchange.com/questions/1586/who-or-what-w...
I think Tolkien fans, on average, have long enjoyed the mystery that is Tom.
If there's one thing a true lore fan adores, it's an ambiguous but textually-supported mystery.
And also, it's fitting that Tolkien left a big "Is Deckard a replicant?" mystery untied in the Ring trilogy.
From your link, the set of comments under the first answer also shows there is clearly a debate.
Tom = awesome
It's pedantic to argue about really, but hey, it's the internet! And what better way to take a break from beating one's head against one's cloud provider than to have a gently pedantic argument about something that matters not one bit on the internet ;)
I believe a stackexchange conversation is a very skewed set of Tolkien fans, who are there specifically to discuss those kinds of questions. There are many ways to be a fan of Tolkien.
The origin of the blade is relevant because they nearly died in getting it, and because it came from the tomb of a prince who himself died battling the Witch King, so in a sense he obtained vengeance from beyond the grave. "Wow, this sword just turned out to be magic, what a coincidence" isn't nearly the same thing.
The films also had to deal with the fact that the LoTR books had a lot of material after the ring was destroyed--and that's not even counting all the material in the appendix of RoTK. Say whatever positive things you like about LoTR but the narrative structure of RoTK in particular is a bit of a mess.
That doesn't mean movies are better: in fact, movies are clearly more limited and worse, from the point of view of telling long, complicated stories. But people enjoy movies (me too), so... compromises.
Reading had a massive renaissance with gen z and millennials have always read more than boomers.
The idea that the youth consider reading as geeky and boring is itself and outdated idea from the 80’s.
I always thought it was more of a misleading prophecy, very like Macbeth (probably inspired by? Tolkien certainly drew some inspiration from Macbeth in other areas); "No man of woman born" and "Not by the hand of man" are both interpreted as "can't be killed" but really turn out to have very significant loopholes.
"Fear not, Macbeth; no man that's born of woman. Shall e'er have power upon thee."
In Macbeth that turns out to be a man who was a Caesarean birth but Tolkein thought that was a cheap solution to the problem. A hobbit and a woman, now we're talking.
And if you think about that you realize the ents and huorn were a reference too:
"[he] shall never vanquished be until the Great Birnam Wood to high Dunsinane Hill shall come against him"
It turns out that Tolkein confirmed that the huorn and the ents came from his disappointment as a child that the trees in Macbeth were just guys wearing branches.
Once you know that it's hard to look at the books in the same way. You have to compare Denethor's role as unfaithful steward with the stewards in Macbeth and pretty soon you're just running a comparative literature class in your head.
Who's Wormtongue supposed to be? Is he a reference to King Lear's daughters? Is the scene where he tries to marry Eowyn a reference to Richard III?
Aragorn's speech is awfully Henry V, and the return of the Army of the Dead is awfully like the WWI short-story of the Angels of Mons where Henry's army returned to the aid of the British line.
Searching for tropes is a normal part of reading literature but normally you're just looking for parallels. I wish he hadn't included an actual reference to Macbeth to force the issue.
Probably the people who most need to understand why he is in there.
Tom was at that point a round peg in a square hole, but Tolkien shoehorned him in nonetheless.
He had a singular way of revising, almost pathologically, holding some key points utterly fixed and revamping everything else to make them fit. It's why he never finalized The Silmarillion, and why when his son finally did publish it, he discarded a lot of the work done post-Lord of the Rings.
I believe you are correct: Tom was one of those fixed points, for no reason he could explain. He later said that Tom was left as a deliberate mystery. Which is a bit disingenuous, but that's fine. Tolkien worked by instinct, and his works are extraordinary. If his instinct tells him that Tom needed to be in the narrative, that's fine by me.
If other readers are perplexed by it, they will hopefully forgive it long enough to get through the book and read it again. It's very much the kind of book that you won't fully understand in a single reading, if ever.
A lot of people likely would have despised such a characterization.
Also the fight scenes in the Fellowship.. they haven’t aged great for me. An elf, two men, and a dwarf can kill a hundred orcs? The battles in the book are awesome, but less of a one sided bloodbath. Aragorn cutting off a goblin’s head, which causes them to get freaked the fuck out and retreat. That’s way more believable than that these guys are super warriors who can take down an army when outnumbered 100:1.
Personally, I hate Tom, not because he is childish, but because of the damn songs.
But he is definitely one of the most interesting characters and one of the best ways the story shows it is taking place in a big world with a lot of different things going on.
Certainly that he's more than meets the eye (that seems plain) but the conclusions here seem less common...
I think it's interesting to contrast the speculation in this article with the depiction of elves in The Hobbit (book) - much less obviously a benign force than as portrayed in LoTR.
The author's assumption - accepted as given at the outset - is that the "evil" within the Old Forest is genuine, rather than a representation of a certain perspective. The thesis is then that Bombadil must be guilty by association.
This initial assumption seems simplistic to me. A common trait of mystical (especially nature-connected) beings in northern European mythology (at least!) is a duality of intent - being a perhaps-positive yet untrustworthy force. This seems reflected in a lot of Tolkien's world; while Sauron / the Ring / others do have a more directly corrupt "evil" attributed to them, there's much more ambiguity elsewhere - it says of Old Man Willow that "his heart was rotten, but his strength was green": rotten != evil and in the context of nature has positive connotations (alcoholic fermentation) elsewhere in his writings. Green isn't necessarily positive either, but the usage here is notable.
In the Old Forest, there were certainly dangers, including some lethal ones, but loosely organized and operating independently. More druidic.
Whereas Sauron / Morgoth were far more hierarchical in structuring their domains, exerted dominion over their forces, and attempted to implement a master plan.
I always assumed a component of the forest was a way to keep Hobbits at home and home with the Hobbits.
Why? He doesn't actually do anything except drone on and on about the color of his boots. He doesn't advance the story in any way (which is why it is so easy to omit him in adaptations).
It's like making a movie based on the Bible but omitting the Resurrection of Jesus.
The scene at Mount Doom where the Ring is finally destroyed is analogous to the Resurrection, not Tom Bombadil.
Incongruent facts are always interesting. IMO.
OK, that's fair enough. But to my mind, this is just a setup that cries out for an explanation that never comes. It's a major flaw in the dramatic structure of the narrative, a bug not a feature.
But I guess we'll just have to agree to disagree about that.
As a kid first reading it, I feared the barrow wights as much if not more than the Nazgul.
The whole aside was to show that the hobbits had truly "left the Shire" and that perils lay along the road in any direction they might turn. But, again, there were allies or, at least, guides all along that road as well.
Bombadil and Old Man Willow are a foreshadowing of the Ents to come.
OK, but Tom doesn't strike me as particularly perilous. He just seems weird.
Does that answer your question?
Ha! Yeah. At least you're consistent :-)
Lynch fills his works with characters and scenes that are—at best—plot-adjacent, whimsical/incongruous/uncanny, and full of often-unexplained and apparently-metaphysical mystery or magic. He's as likely to let mood or theme drive the content of and editorial-decision-to-include a scene or a shot or an entire character(!), as plot. It makes sense you'd dislike his stuff if you don't like the Bombadil section of LOTR.
(this is not intended as some kind of judgement, to be clear, I was just curious if works with similar qualities had the same effect for you, or it was something specific to that kind of element being in LOTR in particular, maybe because of the context or something)
LOTR is mostly like that. Most of the events make sense in the context of the overall arc of the narrative. If you ask, "Why is this scene here?" there is usually an answer.
Except Tom. He appears, puts on the ring, fails to disappear -- which is quite extraordinary! --- and that's it. The end. Toodle-oo. Vanishes entirely from the story without so much as a by-your-leave. Why was he introduced? To this day I have no idea. And that is why Tom bothers me particularly. With Lynch you know what you're getting. Tom seems like a bit of a bait-and-switch.
As others have also stated, Tom is one of my favorite characters purely because he is left so unexplained. Tolkien sought to create a world. In order to create a world [0], it doesn't make sense for the whole of that world to be defined by a singular story or set of events. Least of all a world created by an author who so dearly loved folklore and mythology.
[0] an interesting one, anyway.
You could go on to explain that fact or similar, but I think driving home that point any more than Tolkien did just muddies it and makes it more clumsy.
One of Tolkien's goals was to create something which resembled history rather than literature. Or if not history, then mythology that plausibly belongs to a real place, rather than a neatly-constructed story. So, some of the things that he does are "janky" from a purely dramatic perspective, but fulfill that purpose.
A common example from Lord of the Rings is having many related characters with the same or similar name. The convention in literature is to make characters distinguishable for practical reasons, but in "real" history naming conventions are messy and people aren't always distinguishable. There are even real debates among historians about whether a name refers to multiple people or not!
Tom Bombadil is a similar thing. He serves no dramatic purpose. But a history, or a mythology, doesn't always have events that fit together in a neat way. Sometimes stuff just happens, or there are things that are only tangentially related. And it's difficult to draw a circle around events and say inside the circle is our story, and outside the circle not our story. There are other stories, intersecting.
He is the only character in the middle earth that can do that actually. The ring, and its immense power, has control over everyone else incl. Gandalf, Galadriel, and Sauron.
Just in case it wasn't a typo, you certainly meant 'entomologist'.
He advances the world and builds context for many elements in the later story. Fangorn has many parallels to the Old Forest, and much of the storyline involving Ents & Huorns benefits from the context given by the earlier encounters with Tom's neighbouring spirits (and his enchantment of them).
First, he represented all the small pockets of unknown magic that could exist in Middle Earth. I would stare at the map of Middle Earth in the front of the book and wonder about the parts not covered in either The Lord of the Rings or The Hobbit. What strange things might be there? Tom heightened my sense of wonder about the world.
But second, Tom showed up just as the hobbits seemed to have met their darkest hour. You can dismiss this as deus ex machina on the part of the author, but it was a needed break from the stress and anxiety that had been building to a crescendo at that point. And I thought perhaps Tolkien was suggesting that sometimes you have to trust in the benevolence of strangers — or that some higher power is watching over the most vulnerable.
Perhaps it was the age when I first read the books (~12 or so years old) – but I loved the contrasts between the cozy world of the hobbits and the more savage, epic nature of the rest of Middle-earth.
For me, Tom Bombadil never fit well into either of these categories. There was a while where I heard about Tom Bombadil potentially being Eru Ilúvatar, but that theory has been found pretty lacking in various aspects, as well as having been debunked by Tolkien himself.
Folks who had read the books would know what had happened, folks who hadn't would just have to accept it as a magical incident/rescue w/o explanation.
Fwiw I would've cast Tom Waits. And had musical scenes.
I definitely remember many people remarking on his absence and debates about how critical he was (most conceded cutting him made sense it was just a bummer).
Tom is entirely beyond caring about "good" or "evil". His peace is such a vital contrast to every other character and has stuck with me over time.
Yeah, exactly this. To me, Tom is a part of nature, even moreso than the elves or the ents, which isn't really good or evil. That's another reason I didn't like this post at all. Tom isn't some malicious force, biding his time until Sauron leaves when he can dance upon the corpses of the Hobbits. He's a mystery, a hint at the depth of the world, and a curious aspect of nature.
I think characters like that can make the world seem more... worldly. It gives a perspective that everything doesn't just revolve around the central plot.
But I’m also not aware of anyone who actually dislikes him, as the article asserts.
Almost certainly. Tolkien fans aren't a monolith, there's plenty of diversity of opinion. I remember seeing these screenshots of a Tolkien forum from 2000 and 2001 of people berating Peter Jackson in the most scathing terms. They were talking about how he's completely ruined Tolkien's legacy.
That said, if you're looking for a Tolkien fan who dislikes Tom - hi, I'm one. Fuck Tom Bombadil. He contributed exactly nothing to the story.
Couldn't the same thing be said of Tolkien's colorful description of the countryside that can go on for pages at a time?
Whereas this guy takes up pages and pages, to ultimately have no effect on the story at all? Felt like a bait and switch to ten year old me.
Personally, I think those things (and Tom!) do contribute a lot to the story, so maybe that's why I liked Tom. There's more to writing than simply telling a story and making everything pertinent to that, and thus there's more to reading. Of course, I also like worldbuilding and would read D&D manuals simply for that, without ever playing sometimes, so another reason why I liked Tom, but I can't help but wonder if it's split into two camps because of how people approach reading and literature.
I see you point, but there are so many chapters in our meandering lives that don't add nothing to our "story". It still does add a layer of depth to the LOTR as others have pointed out. And in a way he acts as a comic Cerberus, scaring away the materialistic minds that want to speedrun through a completely coherent story once again.
Or, did you just not understand what he contributed?
Why was Tom Bombadil invulnerable to the ring's power? Why was he not tempted by it? If you can't cogently answer that, I feel like you've probably just not yet understood what Tolkein was trying to represent.
He was in the books to add depth, history and verisimilitude to Middle Earth. He was an important part of world building. Tolkien could have left him out and the story would not have suffered but the same could be said for the appendixes and map as well.
I finally read it in full around 5 years later.
Absolutely agree he needed to be dropped from the theatrical release. Would have been nice to see him in the extended edition though.
Myself I enjoyed the poetry, but my first reading of Tolkien at the age of 12 was in Russian translation. The poetry was translated absolutely beautifully, and I memorized several poems from the book. But I don't know how I would like the original poetry if English was my first language.
I think the Tolkien's books are very poetic overall, not just the verses, and it's much subtler than just an adventure story of the fight between good and evil. These days, when I re-read LoTR, I do it for this "poetic" value, for impressions, rather than for the story (which I know so well, it becomes just a background)...
I even read the Tom Bombadill songs child book.
Then again, I’m not one of those folks who considers Tolkien sacrosanct. I generally think that he’s a bit like George Lucas: a pretty good idea guy, some interesting ideas, but not the best person to write the stories.
A good editor would have had it shortened or eliminated.
I see the Bombadil portion and the sections after it as Tolkien making the transition from "I'm writing a sequel to The Hobbit with a similar feel" to "I'm writing a sequel to my Silmarillion, with much more mature and darker themes". I think Bombadil fits more in the style of The Hobbit (fundamentally a children's book) than the larger Quenta Silmarillion.
Sooooo we exist…?
I say that as someone who has held up LOTR as some of my favorite books my whole life. I started re-reading them recently after 20 years and had to quit after Tom Bombadil.
Tolkien wrote a silly whimsical poem about one of his children's toys that they had named Tom Bombadil. In this tale he lives in a dangerous environment, but he is able to overcome the dangers and get his happy ending.
When Tolkien later was writing LotR, he drew upon his former work and put in the silly whimsical Tom as an early encounter for the Hobbits just as they are leaving the Shire and starting their adventure. This story arc delivers some early exposition about the world in his dialogue, it shows that the Hobbits are hopelessly unprepared to stand up against any foe such as Old Man Willow or the Barrow-Wight and need rescue (this way they can have character growth and become Heroes by the time they return to the Shire) and it gets the Hobbits armed for their quest towards Rivendell (and most importantly to put the right kind of blade into Pippin's hands for later).
In a more thematic sense he is just part of nature, not evil but also not actively looking to do good, just existing. He is master of his domain in the same sense a big moose might be the "master" of his local forest, he's the biggest around and isn't threatened by anything else, but he has no human desire for expansion and doesn't push back when civilization comes around to turn the land nearby into farmland either, just keeps to himself. He doesn't try to tame the angry trees because it's just protecting it's territory, as is natural, nor does he try to "exorcise" the barrows because nature doesn't actively go about trying to undo the evils created by man.
Rather than evil, it's more "biding their time until that injustice can finally be rectified". In this post's framing, literally every humanoid race is by definition an (unwitting) invader.
I think Elrond hadn't heard of Tom just because that made the council scene more dramatic, for instance.
There was silence. At last Elrond spoke again. [...] The Barrow-wights we know by many names; and of the Old Forest many tales have been told: all that now remains is but an outlier of its northern march. Time was when a squirrel could go from tree to tree from what is now the Shire to Dunland west of Isengard. In those lands I journeyed once, and many things wild and strange I knew. But I had forgotten Bombadil, if indeed this is still the same that walked the woods and hills long ago, and even then was older than the old. That was not then his name. Iarwain Ben-adar we called him, oldest and fatherless. But many another name he has since been given by other folk: Forn by the Dwarves, Orald by Northern Men, and other names beside. He is a strange creature, but maybe I should have summoned him to our Council.'My takeaway from this was that Elrond wasn't sure if this was the same person - strongly speculated to be, and probably correct, but not someone Elrond had personally known or corresponded with. It felt like this was the first time he'd heard the name Tom Bombadil, and made an educated guess that it was probably old Ben-adar. Tom, meanwhile, had contact with Gildor at the very least.
Next up: Little Red Riding Hood was actually a time-traveling deep cover Mossad agent gone rogue.
Tell me you wouldn't pay to see this.
[EDIT:] Highly recommended! [/EDIT]
Related: one of the coolest monsters I've seen in recent fantasy is Cthaeh from the Kingkiller Chronicles. He's an evil, omniscient being with near-perfect foresight, but he's stuck in a tree. Speaking with him is terribly dangerous because whatever he says to you is guided by a.) his perfect knowledge of all possible futures, and b.) his desire to maximize harm.
The elves did what was probably the most sensible thing they could: wall off the area around the tree and kill anybody who interacts with it in order to minimize its ability to affect the world.
1. I'm surprised LiveJournal still exists. Genuinely. I used to have one, a loooong time ago.
2. I was always fascinated by Bombadil, he seemed to me like the embodiment of nature itself, or forests. At least, that's the concept he seemed to represent to me. I admit I skipped reading the lyrics though. This is a fascinating theory although it is quite different than what I would conclude from the same evidence.
Having said that, will non-academics in that far future still read it for entertainment? That's harder to say because in large part it depends how much language evolves. We still read Shakespear, go to see the plays, and even go and see film productions of it in cinemas but it's language is only diverged from our by 400 years.
A thousand years can allow for a lot more linguistic divergence. Chaucer from 900 years ago is hardly recognisable as English, but that's mainly due to a shift that occurred in only a few hundred years. If such a shift occurs again then today's fiction might become inaccessible, but we can't know that in advance.
LoTR is interesting here because it explicitly contains examples of language change. In fact language change was one of Tolkien's original motivations for developing the history of Middle Earth - to provide a historical context for the evolution of Elvish. E.g. Elves being sundered during the First Age and then developing independent languages. Even Frodo is aware of 'high' Elvish. The language of the Rohirrim, to the hobbits, sounds something like Old English does to us.
Tolkien himself uses archaic modes of English to describe some of the events near the end of the story, some of which might already be difficult to understand for modern readers. One example is when he states that some characters were 'in the van' meaning 'vanguard' rather than a road vehicle.
I cannot say what exactly made me believe this, but while reading them I thought that these books contain some of the most beautiful English language that I have ever read (and I have read many thousands of books). I have not changed my opinion later.
The movies have been fine, but reading the books has been a much more powerful experience for me.
Examples are the battle of the Pelennor Fields, and in fact (coming back to the subject of the article), the description of the stories that Tom tells to the hobbits - e.g.: Suddenly Tom's talk left the woods and went leaping up the young stream, over bubbling waterfalls, over pebbles and worn rocks and among small flowers in close grass and wet crannies, wandering at last up to the Downs. They heard of the Great Barrows, and the green mounds, and the stone-rings upon the hills and in the hollows among the hills. Sheep were bleating in flocks. Green walls and white walls rose. There were fortresses on the heights. Kings of little kingdoms fought together, and the young Sun shone like fire on the red metal of their new and greedy swords...
I first read TLoTR in 1973 (50 years ago, next year) and it has had a special place in my heart ever since.
Even today, a significant part of the readership of the Lord of the Rings already read it translated.
Bearing that in mind, it’s not completely unreasonable to assume that a certain number of people will read it in a millenium.
If this influence continues to hold, then the popular fantasy VR reality doesn't need to be Tolkien World. It can stand completely on its own and still generally look and feel like Middle Earth would.
Information storage and transmission over the next 1000 years should be quite a bit better, so more work will survive and have a shot at continuing relevance, and Lord of the Rings certainly has a shot, provided epic fantasy keeps its popularity as a genre. Being fairly foundational is likely to keep it important to the genre to the point that I think we're just asking if humans in that future will still care to experience these kinds of stories at all, but you are pushing the point at which all that tends to still be read that far into the future are national foundation myths and religious scripture.
It'll definitely last more than a century, though. The Hobbit was published in 1937. A century is only another 15 years away.
It's also complicated since Beowulf was essentially lost for most of that time period, and is attested from a single manuscript. It's unlikely to be the case with LotR, short of massive civilizational collapse.
Yeah, it's a bit of a stretch to compare 1000 years ago to 1000 years from now. Things are radically different, and using the past to judge the future is rife with opportunities to make mistakes.
Some people have suggested that it may actually be worse, in that so much of our current knowledge is contained in non-durable formats (digital instead of hard copy, for instance), which is an interesting idea. Here a comparison could be made to inscriptions on stone and clay vs. on papyrus. It may be that when the Walking Dead happens, rebuilding our knowledge will depend on the large numbers of libraries that will still exist, but are less than up-to-date, since so much of the modern knowledge isn't contained there, but instead in a PDF on some cloud server.
I found some parts boring and repetitive and read them diagonally. Anyway, I did finish the book and was moved by some parts, characters and themes.
FWIW, it was a translation, so changes in the language along 1000 years could be a similar factor. I also agree with simonh in the influence factor: I chose the book because I was told that it was a centerpiece of geek culture.
But I suspect that it's more a question of which books were read by kids at a certain time. Will it be a popular book in this category in a thousand years?
The group has not yet arrived to Rivendell (so no spoilers please :))
A "chance" meeting of the Wight and a rescue by Bombadil where they (not of the race of men) happen to get magic knives woven with the exact ancient spells capable of undoing the Witch-king.
The fate of Gondor relied on this piece of the books that is missing in the movies. Without it, the Witch-king isn't killed and they fall to Sauron's minions.
I used to skip the Tom section and move right up to Bree. Now I read the books much slower, and I savor every section, even Tom.
1) The song he gives, which seemed a positive one, and is not remarked upon as discordant or unpleasant. Eru created through song, and in that choir it was the introduction of disharmony that signified evil.
2) The passage where it's asked "who is he?" The answer is "He is." And then "he is as you have seen him". Tolkien was a religious person, and this passage has always seemed to echo that of the bible where a similar question gets the godly response "I am that I am". This echo always seemed to much to be a coincidence.
Rather than his surroundings being a symbol of the true Tom, I take this to be Tolkien's allegory of divine intervention, God himself reaching in and tilting the balance slightly, a little nudge while otherwise letting things play out. An extremely rare occurrence both in Tolkien's creation and his own religion, which is why Tom is not more widely known, except by Gandalf who rubs elbows with the Valar when not running around Middle Earth.
I take a different view:
Eru knew who Melkor was from the start, and his “disharmony” was part of a broader and richer song — as shown by the duet that led to man and the ultimate downfall of evil lords.
The only time Eru spoke to Melkor, he chided him for thinking that a being of his own essence was acting outside his intent or marring the music.
If you take the Valar as aspects of Eru, then Melkor is the internal critic that drives genius to greater heights.
Still it is strong evidence against == Eru unless Tolkein was playing semantic games.
As to what a GMPC is: https://tvtropes.org/pmwiki/pmwiki.php/Main/GMPC
I'll also add that I have never heard of any Tolkien enthusiast not liking Bombadil before this. I suspect the author of this article is among the minority who thinks that abruptly breaking into song is lame, mistakenly of course, hehe.
Tom Bombadil is the slacker version of Melian the Maia. Instead of marrying Elvish royalty and running an enchanted kingdom, he shacked up with an orphan and runs a nature park full of angry, semi-sentient trees.
He could do a lot more if he really applied himself.
This is just not true. At a minimum farmer maggot is supposed to have known about Tom Bombadil.
And previously-er: https://news.ycombinator.com/item?id=6923547
Shelob has a canonical origin story, as I recall, as daughter of the primeval spider-shadow thing Ungoliant. The watcher in the water doesn't seem quite spectacular enough to be truly primeval if you ask me, but then again, Bombadil isn't especially flashy either, and we know he is primeval. Maybe it's more relevant that the watcher in the water wasn't always there, it only appeared around the same time as the balrog was dug up. Which sounds pretty un-primeval to me.
Although the notion of a ringwraith singing and dancing is amusing.
No way! I love the character, and would love to see him adapted. In a way, that he is so low priority kind of underscores what is so great about him.
https://archive.org/details/the-lord-of-the-rings-bbc-radio-...
(no sign of Tom Bombadil here either though, IIRC)
https://www.amazon.co.uk/Tales-Perilous-Realm-Full-Cast-Dram...
from german fanfiction, tom bombadil rap, sadly the site went offline a while ago https://www.last.fm/music/www.das-schwarze-ohr.de looks like someone saved it!
Tolkien is overrated, but this... this is useless and annoying.
>And yet no hobbit has ever heard of him.
Farmer Maggot knows him.
> Possibly the least liked character in The Lord of the Rings. A childish figure so disliked by fans of the book that few object to his absence from all adaptations of the story.
Nonsense. On all counts.
I won't even go on from here. Ugh.
Completely pointless character that I love for that exact reason.
As such, he is the reason for the fall of the Republic and rise of the Empire.
In Chapter 5 of The Two Towers, Gandalf calls Treebeard "...the oldest living thing that still walks beneath the Sun upon this Middle-earth." In The Return of the King, Chapter 6, "Many Partings", Celeborn addresses Treebeard as "Eldest."
If Maia are included, then Sauron and Radagast (if still alive) would be just as old.
I'm sure The Rings of Power (which I assume is what you meant) will give the subject a bump, but this is more likely something someone came across and shared unrelated.
Tldr: "So that's what I think Tom is. He's Tolkien's version of what a pagan survival would have looked like in Middle Earth. He doesn't quite fit because he's from the bit of Middle Earth that is England, or a version of England, and from a different set of stories. "
Edit: obviously, I replied under wrong comment.
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!