Prophecy, Hope, Despair, and Sorrow in "The Tale of Aragorn and Arwen."

Recently I have been reading Johm F. Whitmire Jr.'s interesting article, "An Archaeology of Hope and Despair in the Tale of Aragorn and Arwen," in the 2023 issue of Tolkien Studies (vol. XX pp. 59-76). I recommend its thoughtful analysis of the evolution of the Tale over several versions, which are published in The Peoples of Middle-earth (HoMe XII pp. 262-270). The Tale of Aragorn and Arwen is a favorite of mine in any case, and so I enjoyed the opportunity to read it again.

This time through I caught something I had not noticed before. Only six characters play a direct part in the action--others are mentioned--and only these six charactersspeak: Dírhael and Ivorwen, the parents of Gilraen, Aragorn's mother, Elrond, Arwen Undómiel, and Aragorn himself. What I find remarkable is that every one of these six speaking characters displays some degree of accurate prophetic foresight into the fates of the Dúnedain and the heirs of Isildur. 

1. Dírhael correctly foresees that Arathorn, Aragorn's father, will soon succeed his father, Arador, and perish himself not long after. For these reasons in particular, he opposed the betrothal of Gilraen to Arathorn.
2. Ivorwen correctly foresees that Arathorn and Gilraen must marry soon then. "If these two wed now, hope may be born for our people; but if they delay, it will not come while this age lasts.”
3. Gilraen gives Aragorn the name Estel (Hope) when his father is killed. Years later she will say that she had given Hope to her people, but kept none for herself.
4. Elrond foretells to Aragorn, when he reveals his true name to him, "that the span of your life shall be greater than the measure of Men, unless evil befalls you or you fail at the test. But the test will be hard and long. The Sceptre of Annúminas I withhold, for you have yet to earn it.”
5. When Aragorn first meets Arwen and calls her Tinúviel, she says "maybe my doom will be not unlike hers."
6. When Gilraen learns that Aragorn has fallen in love with Arwen, she tells him that Elrond will oppose marriage between them. Aragorn replies: "Then bitter will be my days, and I will walk in the wild alone." 
7. ‘“That will indeed be your fate,” said Gilraen; but though she had in a measure the foresight of her people, she said no more to him of her foreboding, nor did she speak to anyone of what her son had told her.
8. Elrond responds as Gilraen predicted and prophesies in turn: “Aragorn, Arathorn’s son, Lord of the Dúnedain, listen to me! A great doom awaits you, either to rise above the height of all your fathers since the days of Elendil, or to fall into darkness with all that is left of your kin. Many years of trial lie before you. You shall neither have wife, nor bind any woman to you in troth, until your time comes and you are found worthy of it.”
9. ‘“I see,” said Aragorn, “that I have turned my eyes to a treasure no less dear than the treasure of Thingol that Beren once desired. Such is my fate.” Then suddenly the foresight of his kindred came to him, and he said: “But lo! Master Elrond, the years of your abiding run short at last, and the choice must soon be laid on your children, to part either with you or with Middle-earth.”
10. The next time Aragorn sees Arwen many years later: "And thus it was that Arwen first beheld him again after their long parting; and as he came walking towards her under the trees of Caras Galadhon laden with flowers of gold, her choice was made and her doom appointed."
11. ‘And Arwen said: “Dark is the Shadow, and yet my heart rejoices; for you, Estel, shall be among the great whose valour will destroy it.”  ‘But Aragorn answered: “Alas! I cannot foresee it, and how it may come to pass is hidden from me. Yet with your hope I will hope."
12. ‘When Elrond learned the choice of his daughter, he was silent, though his heart was grieved and found the doom long feared none the easier to endure.' 
13. ‘“My son, years come when hope will fade, and beyond them little is clear to me. And now a shadow lies between us. Maybe, it has been appointed so, that by my loss the kingship of Men may be restored. Therefore, though I love you, I say to you: Arwen Undómiel shall not diminish her life’s grace for less cause. She shall not be the bride of any Man less than the King of both Gondor and Arnor. To me then even our victory can bring only sorrow and parting -but to you hope of joy for a while. Alas, my son! I fear that to Arwen the Doom of Men may seem hard at the ending.”

Each of these foretellings prove true, and they shape the Tale as much as the choices the characters make in response to them. But there is one final foretelling. It comes at the end of Aragorn's life when, as Elrond foresaw, the approaching end of their story seems hard. Aragorn's last words to Arwen foretell in no uncertain terms that there is hope beyond the sorrow of death:

    14. "In sorrow we must go, but not in despair. Behold! we are not bound for ever to the circles of the world, and beyond them is more than memory. Farewell!”

This last prophecy of course is the only one we do not see come true. How could we? Yet such is the weight of all the accurate foretellings that come before it by all the characters that this one is credible on its own. Tolkien has so composed The Tale of Aragorn and Arwen as presented in Appendix A, which importantly is explicitly called only a part of that Tale, that it focusses throughout on prophetic truth culminating in the hope with which Estel faces death, followed in time by Arwen's similar quiet acceptance of it despite her sorrow. The Dooms of Men and Elves, the coming together of mortal and immortal, the interplay of Fate and Free Will, and the Choice of Lúthien all come together here. 

Éomer and Aragorn's New Mood (TT 3.ii.433)

Gimli and Legolas looked their companion in amazement, for they had not seen him in this mood before. He seemed to have grown in stature while Éomer had shrunk; and in his living face they caught a brief vision of the power and majesty of the kings of stone. For a moment it seemed to the eyes of Legolas that a white flame flickered on the brows of Aragorn like a shining crown.

Éomer stepped back and a look of awe was in his face. He cast down his proud eyes. 'These are indeed strange days,' he muttered. 'Dreams and legends spring to life out of the grass.

'Tell me, lord,' he said, 'what brings you here?'

In rejecting the logic of either going after the Ringbearer or continuing on to Minas Tirith, and instead choosing to pursue the orcs who have abducted Merry and Pippin, Aragorn does the right thing because it is the right thing, regardless of its seeming hopelessness. In doing so he passes the test and proves himself worthy to become king, though that, too, seems a hopeless cause. Is it any wonder that he seems so different so immediately? His unhesitating, bold declaration of his identity and purpose to Éomer stuns his comrades, 'for they had not seen him in this mood before' (one of the funniest lines in the book), but it also finds confirmation in Éomer’s response. He takes a step back, lowers his eyes, accepts what he has seen and heard, and addresses Aragorn as 'lord'. He is the first to do this.

Hope and Courage in Memory -- Tolkien Reading Day 2021

After rescuing the hobbits from the Barrow-wight, Tom Bombadil, in a moment I have always found unforgettable, conjures an elegiac memory of a woman long dead:

He chose for himself from the pile a brooch set with blue stones, many-shaded like flax-flowers or the wings of blue butterflies. He looked long at it, as if stirred by some memory, shaking his head, and saying at last:

'Here is a pretty toy for Tom and for his lady! Fair was she who long ago wore this on her shoulder. Goldberry shall wear it now, and we will not forget her!'

For each of the hobbits he chose a dagger, long, leaf-shaped, and keen, of marvellous workmanship, damasked with serpent-forms in red and gold. They gleamed as he drew them from their black sheaths, wrought of some strange metal, light and strong, and set with many fiery stones. Whether by some virtue in these sheaths or because of the spell that lay on the mound, the blades seemed untouched by time, unrusted, sharp, glittering in the sun.

'Old knives are long enough as swords for hobbit-people,' he said. 'Sharp blades are good to have, if Shire-folk go walking, east, south, or far away into dark and danger.' Then he told them that these blades were forged many long years ago by Men of Westernesse: they were foes of the Dark Lord, but they were overcome by the evil king of Carn Dum in the Land of Angmar. 

          (FR 1.viii.145)

Old Tom's recollection of this otherwise vanished woman reveals the sorrow innate in memories as long as his, but his statement that he and Goldberry will continue to remember her verges on hope. For how fair she was is only the beginning of what he recalls about her and her people. And though by calling the daggers with which he arms the hobbits 'old knives' he seems to dismiss them, the description of them makes clear that they are not ordinary, but as remarkable and as full of memory as the brooch. Undulled, unstained by the centuries, the blades are as ready to serve the purpose for which they were made as they were when newly forged, as if the memory of that time and that purpose dwelt in them even now. In telling their history Old Tom suggests a new hope to the hobbits, who glimpse the flow of past into present and even present into future. For the hobbits have no idea that the man with the star upon his brow is in their future and that one of the names he bears is Hope (Estel).

'Few now remember them,' Tom murmured, 'yet still some go wandering, sons of forgotten kings walking in loneliness, guarding from evil things folk that are heedless.'

The hobbits did not understand his words, but as he spoke they had a vision as it were of a great expanse of years behind them, like a vast shadowy plain over which there strode shapes of Men, tall and grim with bright swords, and last came one with a star on his brow. Then the vision faded, and they were back in the sunlit world. It was time to start again. 

          (FR 1.viii.145-46)

Just as Tom picks up the woman's memory with the brooch, which leads the hobbits to a hope they do not yet recognize, and to a courage they do not yet know, so too the vision of the man with a star upon his brow brings us to Aragorn, to the sword that was broken, and to Arwen Evenstar. We hear her voice so seldom, it is almost no surprise that her first words come to us through another, relayed to Aragorn by his kinsman, Halbarad:

'The days now are short. Either our hope cometh, or all hopes end. Therefore, I send thee what I have made for thee. Fare well, Elfstone!' 

(RK 5.ii.775)

Indeed Arwen's voice is so full of hope and grace the few times we do hear it -- whether she is renouncing both the Shadow and the Twilight (RK App. A 1060) for the love of Aragorn, or ceding her place beyond the sea to Frodo in the hope that he might find healing there (RK 6.vi.974) -- that it is stunning when in the face of Aragorn's death she is 'overborne by her grief' (RK App. A 1062):

'"But I say to you, King of the Númenóreans, not till now have I understood the tale of your people and their fall. As wicked fools I scorned them, but I pity them at last. For if this is indeed, as the Eldar say, the gift of the One to Men, it is bitter to receive."

'"So it seems," he said. "But let us not be overthrown at the final test, who of old renounced the Shadow and the Ring. In sorrow we must go, but not in despair. Behold! we are not bound for ever to the circles of the world, and beyond them is more than memory, Farewell!"

'"Estel, Estel!" she cried, and with that even as he took her hand and kissed it, he fell into sleep.'

(RK App. A 1062-63)

The faltering of Arwen at the last, now no longer immortal nor, it seems, elven-wise, is such an eloquent counterpoint to Aragorn’s faith. She puts on Men's knowledge when she puts on their sorrow. Yet the last words we hear her speak – ‘Estel, Estel!’ – testify ironically to the surety of the hope she does not recognize.

#TolkienReadingDay2021

#TolkienReadingDay

Never again as a living man -- Aragorn at Cerin Amroth

It is part of my 'head-canon' that the following two passages, taken together, suggest that the spirit of Aragorn was waiting for Arwen at Cerin Amroth, where they had plighted their troth*, just as the shade of Beren had waited in the Halls of Mandos for Lúthien.

'Here is the heart of Elvendom on earth,' he said, 'and here my heart dwells ever, unless there be a light beyond the dark roads that we still must tread, you and I. Come with me!' And taking Frodo's hand in his, he left the hill of Cerin Amroth and came there never again as living man.

FR 2.vi.352

'There at last when the mallorn-leaves were falling, but spring had not yet come, she laid herself to rest upon Cerin Amroth; and there is her green grave, until the world is changed, and all the days of her life are utterly forgotten by men that come after, and elanor and niphredil bloom no more east of the Sea.

RK App. A 1063

 

*It's not like you get to use this phrase every day, okay?

The Shortsightedness of Denethor

Compare the following passages, the first Denethor's words, the second Faramir's. 

'I will go now to my pyre. To my pyre! No tomb for Denethor and Faramir. No tomb! No long slow sleep of death embalmed. We will burn like heathen kings before ever a ship sailed hither from the West. The West has failed.' 

            RK 5.iv.825

'... we look towards Númenor that was, and beyond to Elvenhome that is, and to that which is beyond Elvenhome and will ever be.' 

            TT  4.v.676 

Denethor's vision does not see past Númenor that was. That is what he means by 'The West.' There is no more. Little wonder then that he and Faramir have such vastly different desires for what they would see present day Gondor be:

'For myself,' said Faramir, 'I would see the White Tree in flower again in the courts of the kings, and the Silver Crown return, and Minas Tirith in peace: Minas Anor again as of old, full of light, high and fair, beautiful as a queen among other queens: not a mistress of many slaves, nay, not even a kind mistress of willing slaves. War must be, while we defend our lives against a destroyer who would devour all; but I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend: the city of the Men of Númenor; and I would have her loved for her memory, her ancientry, her beauty, and her present wisdom. Not feared, save as men may fear the dignity of a man, old and wise.'

            TT 4.v.671-72

'I would have things as they were in all the days of my life answered Denethor, 'and in the days my longfathers before me: to the Lord of this City in peace, and leave my chair to a son after me who would be his own master and no wizard's pupil. But if doom denies this to me, then I will have naught: neither life diminished, nor love halved, nor honour abated.'

            RK 5.vii.853

One might almost say that there's a feeling Faramir gets when he looks to The West, but Denethor does not.

It is worth noting in this connection that Faramir had also spoken slightingly of 'tombs more splendid than the houses of the living' (4.v.677), and his calling Minas Tirith by its old name, Minas Anor, echoes Aragorn's words on seeing the Argonath (3.ix.393). Faramir's truer vision is in keeping with his experience of the dream about 'the Sword that was broken' and his encounter with the boat bearing his brother, the exact nature of which -- dream, reality, vision -- is never quite clear.

The Wonder of the Unexplained (TT 3.v.498)

Carl Emil Doepler

From early on, people have wondered if Tom Bombadil is really Eru Ilúvatar in disguise. As early as September 1954, within weeks of the first volume's publication on 29 July, Tolkien was answering the question of whether Old Tom was God (No: Letter 153). Even at the stage of page-proofs, the question of who Tom seems to have arisen. Naomi Mitchison, who had been reading them early that year, had written to Tolkien with a number of inquiries to which Tolkien responds, but does not answer. At one point he writes:

There is of course a clash between 'literary' technique, and the fascination of elaborating in detail an imaginary mythical Age (mythical, not allegorical: my mind does not work allegorically). As a story, I think it is good that there should be a lot of things unexplained (especially if an explanation actually exists); and I have perhaps from this point of view erred in trying to explain too much, and give too much past history. Many readers have, for instance, rather stuck at the Council of Elrond. And even in a mythical Age there must be some enigmas, as there always are. Tom Bombadil is one (intentionally). 

(Letter 144, 25 April 1954)

Other mysteries remain as well, and always will I hope. The Watcher in the Water (FR 2.iv.308-09), the 'fell voices on the air' in the night on Caradhras (FR 2.iii.289), the 'nameless things' that gnaw the world 'far, far below the deepest delving of the dwarves' (TT 3.v.501) make up an intriguing set, centered on the Misty Mountains around Moria. Why did Galadriel marry such a dolt? The man Brego and Baldor met at the Door to the Paths of the Dead (RK 5.iii.797-98). Who is that guy? Where does the locked door lead outside which Aragorn found Baldor dead (RK 5.ii.787)? Was that an Entwife Sam's cousin Hal saw up on the North Moors, or was Hal as daft as everybody but Sam seems to think he is (FR 1.ii.xx.44-45). And whose voice was speaking to Sam as he debated what to do when Frodo seemed dead (TT 4.x.731-32). These are only a few of the mysteries we encounter that unexplained make our experience all the richer.  But there's one that seems to have an explanation, but is it the explanation that is suggested to us?

Recall the the night Aragorn, Gimli, and Legolas spend beneath the eaves of Fangorn. They briefly see an old man, cloaked and leaning on a staff, wearing a hat pulled down over his eyes (TT 3.ii.442-43). They assume that is Saruman, but the next day they meet Gandalf the White, and Gimli wonders whether they had seen Saruman or Gandalf: "'You certainly did not see me,'answered Gandalf, 'therefore I must guess that you saw Saruman.'" (TT 3.v.498).

But must we guess the same? We never receive a definitive answer, never see a bit of evidence that it was Saruman. Saruman certainly never tells. Who then? In Letter 107 says that he thinks of Gandalf as 'an Odinic wanderer', since Odin sometimes appeared as a wanderer cloaked and in a broad-brimmed hat, much the same garb as Gandalf and (it seems) Saruman wear. He was also called 'All-father' (Alföðr), not unlike Ilúvatar, literally 'the father of the universe', which has il 'all' as one of its roots (Lost Road, 361).

Carl Emil Doepler

Do I really think it's Ilúvatar they see? No. That's not very likely, but it's fun to speculate (so idly) that a visit from god himself might lie hidden in plain sight.  Wouldn't be the first time, I imagine.

'Not Unlike the Verse of the English' -- From Rohan to the Havens of Sirion

Alan Lee © 2007 

Many of us no doubt first encountered alliterative verse in Tolkien, in the scene where Aragorn first chants in the language of the Mark, and then translates the words of 'a forgotten poet long ago':

Where now the horse and the rider? Where is the horn that was blowing?
Where is the helm and the hauberk, and the bright hair flowing?

(TT 3.vi.508)

Or later in the stirring lines as the host of Rohan sets forth to war:

From dark Dunharrow in the dim morning
With thain and captain rode Thengel's son

(RK 5.iii.803)

Soon we learned, if The Lord of the Rings had truly fired our imaginations, that the people and culture of Rohan owed much to Tolkien's love of Old English and the people who spoke it. Beowulf, the epic so central to his scholarly and imaginative lives, and the study of which he had so great an effect on precisely because of his scholarly and imaginative lives -- Beowulf was composed in alliterative verse, as was The Wanderer, which provided the model for the lines Aragorn chanted (92-93):

Hwær com mearh? Hwær com magu? Hwær com maðumgiefa?
Hwær com symbla gesetu? Hwær sindon seledreamas?  

Where is the horse? Where is the warrior? Where the giver of treasures?
Where are the seats at the banquet? Where the joys of the mead-hall?

Elsewhere Faramir speaks to Frodo of the men of Rohan, saying that they have not become like the men of Gondor. For they 'hold by the ways of their own fathers and to their own memories, and they speak among themselves their own north tongue.' Of the ways and history of Gondor they have learned only what was necessary for them to learn.

they remind us of the youth of Men, as they were in the Elder Days. Indeed it is said by our lore-masters that they have from of old this affinity with us that they are come from those same Three Houses of Men as were the Númenóreans in their beginning; not from Hador the Goldenhaired, the Elf-friend, maybe, yet from such of his sons and people as went not over Sea into the West, refusing the call.

(TT 4.v.678)

That Faramir, whose heart is of downfallen Númenor and waning Gondor, should link the Rohirrim to those of the Edain who did not go into the West, citing 'our lore-masters' to back up the general impression of the Men of Rohan, is intriguing enough in itself  -- for they escaped the fall that Númenor suffered -- but for now it is enough to note that his words point to the persistence of their traditional ways. Which is not to say that their ways have been unchanged for thousands of years, or that he regards them as faultless (he does not), but that their ways and their language are old, more in touch perhaps with what Men were on their own. This may well include their mode of poetry. And the fact that Aragorn's poem about Eorl the Young, who died five centuries earlier, was also in alliterative meter points in the same direction. Indeed the song and the form have persisted long after the poet himself has been forgotten.

From about six hundred years before that comes another example of alliterative verse, and from a source we might not at first expect, given the strong association of this type of verse with Rohan:

'Thus spoke Malbeth the Seer, in the days of Arvedui, last king at Fornost,' said Aragorn: 

Over the land there lies a long shadow,
westward reaching wings of darkness.
The Tower trembles; to the tombs of kings
doom approaches. The Dead awaken;
for the hour is come for the oathbreakers;
at the Stone of Erech they shall stand again
and hear there a horn in the hills ringing.
Whose shall the horn be? Who shall call them
from the grey twilight, the forgotten people?
The heir of him to whom the oath they swore.
From the North shall he come, need shall drive him:
he shall pass the Door to the Paths of the Dead.

(RK 5.ii.781)

Now as Corey Olsen pointed out in discussing these verses in his Signum University course of Tolkien's Poetry, the Anglo-Saxons were not the only people in Medieval Europe to compose alliterative verse. We have many examples of it in Old Norse, Old High German, and Old Saxon. So we should not be surprised to find alliterative verse elsewhere in Middle-earth. But since different races within Middle-earth tend to compose in different meters -- Hobbits in iambic tetrameter, Elves in iambic heptameter, Tom Bombadil in trochaic heptameter -- may we not wonder if Tolkien means alliterative verse to represent a distinctly mannish verse form?

Relevant to this are some notes of Tolkien's, first referred to in Unfinished Tales (146) and later published in The War of the Jewels (311-315), which allow us to make a leap backward into the poetry of the First Age, to the oldest piece of mannish verse we know of, the Tale of the Children of Húrin. The speaker is Ælfwine:

But here I will tell as I may a Tale of Men that Dírhaval of the Havens made in the days of Eärendel long ago. Narn i Chîn Húrin he called it, the Tale of the Children of Húrin, which is the longest of all the lays that are now remembered in Eressëa, though it was made by a man.

For such was Dírhaval. He came of the House of Hador, it is said, and the glory and sorrow of that House was nearest to his heart. Dwelling at the Havens of Sirion, he gathered there all the tidings and lore that he could; for in the last days of Beleriand there came thither remnants out of all the countries, both Men and Elves: from Hithlum and Dorlómin, from Nargothrond and Doriath, from Gondolin and the realms of the Sons of Fëanor in the east. This lay was all that Dírhaval ever made, but it was prized by the Eldar, for Dírhaval used the Grey-elven tongue, in which he had great skill. He used that mode of Elvish verse which is called [minlamad thent/estent] which was of old proper to the narn; but though this verse mode is not unlike the verse of the English, I have rendered it in prose, judging my skill too small to be at once scop [i.e., poet] and walhstod [i.e., interpreter/translator]. 

(Jewels 312-13)

According to Patrick Wynne and Carl Hostetter (2000, 121-22), the elvish name of this verse form strongly suggests alliterative verse, and we know also of course that Tolkien wrote a long, but incomplete alliterative Lay of the Children of Húrin in the 1920s (Lays 3-130).  Should we then see some connection between this and the poem that Ælfwine translated? Christopher Tolkien admits that it's tempting to do so, but suggests that 'this may be delusory' (Jewels 314).  However that may be, we need no such link to see that Tolkien imagined alliterative verse as something composed by Men all the way back into the First Age. The connection to the House of Hador shared by Dírhaval and the Rohirrim is both striking and sad, since he neither crossed the sea to Númenor nor refused the call. For he was slain in the Third Kinslaying at the Havens of Sirion.

_______________________________

Works Consulted

_______________________________ 

'As it was told of old' -- Two observations on FR 1.xi.191

'Beren and Luthien in the Court of Thingol and Melian.' copyright 2017 Donato Giancola

'I will tell you the tale of Tinúviel,' said Strider, 'in brief – for it is a long tale of which the end is not known; and there are none now, except Elrond, that remember it aright as it was told of old. It is a fair tale, though it is sad, as are all the tales of Middle-earth, and yet it may lift up your hearts.'

(FR 1.xi.191)

Aragorn's words here indicate that the Tale of Beren and Lúthien was not remembered and told 'aright' in places other than Rivendell. Given the multiple, unfinished or abbreviated versions of the Tale Tolkien wrote, he may well be poking fun at himself here.

To say that the end of the Tale is 'not known' is not the same as to say that the lay is unfinished. Indeed the hobbits later hear it sung 'in full' at Rivendell (FR 2.iii.277). What Strider says here, at Weathertop, shows that he fully understands what Sam grasps only later on, that they're 'in the same tale still.  It's going on', because the 'great tales never end' (TT 4.viii.712). 

'Our king, we call him' -- The Identity of the Speaker at RK App. A 1043-44

In the section of Appendix A called The North Kingdom and the Dúnedain an anonymous speaker tells something of the return of King Elessar to the North:

There were fourteen Chieftains, before the fifteenth and last was born, Aragorn II, who became again King of both Gondor and Arnor. 'Our King, we call him; and when he comes north to his house in Annúminas restored and stays for a while by Lake Evendim, then everyone in the Shire is glad. But he does not enter this land and binds himself by the law that he has made, that none of the Big People shall pass its borders. But he rides often with many fair people to the Great Bridge, and there he welcomes his friends, and any others who wish to see him; and some ride away with him and stay in his house as long as they have a mind. Thain Peregrin has been there many times; and so has Master Samwise the Mayor. His daughter Elanor the Fair is one of the maids of Queen Evenstar.' 

(RK App A 1043-44)

Let's look at the facts of this quote and see if we can make an educated guess about the identity of the speaker here.

• 'Our King, we call him' establishes the speaker as a hobbit, likely addressing an audience from outside the Shire.
• 'Our King, we call him' is also quite informal in tone, suggesting that the speaker is addressing someone he or she knows.
• The need to identify Sam as the Mayor, and Peregrin as the Thain, also indicates an external audience. Hobbits would know these facts.
• The reference to the Brandywine Bridge as the Great Bridge also points to an external audience, since the evidence from within the Tale indicates that amongst themselves the hobbits tended to call it the Brandywine Bridge, or just the Bridge (FR Pr. 5; 1.i.24; iii.71; iv.88; v.99 twice, 100, 107 twice, 108; viii.137; ix.150; RK 6.vii.996; viii.998 twice, 999, 1000, 1001, 1003; App A 1044; App B 1,096, 1097).
• 'Thain Peregrin has been there many times' dates this comment after S.R. 1434 (FA 13), when Pippin became the Thain, perhaps much later (thus, 'many times').
• Since Elanor became a maid of the Queen in S.R. 1436 (FA 15), we can bring forward the terminus post quem to that year.
• 'So has Master Samwise' shows that Sam has not yet crossed the Sea, as he did in S.R. 1482 (FA 61). This fixes the terminus ante quem.
• The speaker speaks as one explaining to an outsider, pointing out that Sam is the Mayor, that Elanor is his daughter, and that Peregrin is the Thain.
• Identifying Elanor as the Fair and as one of Arwen's maids seems a point of local pride, like 'Our King', but claims no kinship with her.
• The speaker seems to be none of the hobbits mentioned in the statement. 

So who is the most likely candidate in the years S.R. 1436-1482 (FA 15-61) to be familiar with these matters and addressing a known audience outside the Shire in an informal tone? By far the most obvious choice would be Merry Brandybuck, who, as friend of the King -- and after S.R.  1432 (FA 11) himself the Master of Buckland -- must have been at the Brandywine Bridge to meet the King. Whom he is addressing is impossible to say, but we might guess, not unreasonably, that he was writing to Éowyn, to Éomer, or to them both, since they never forgot their friendship with him (RK App B. 1097 twice).

Barrow-wights, Ringwraiths, and William Morris (FR 2.ii.248)

"Under the Spell of the Barrow-wight" © Ted Nasmith

"Strider" I am to one fat man who lives within a day's march of foes that would freeze his heart or lay his little town in ruin, if he were not guarded ceaselessly. 

(FR 2.ii.248)

While the identity of these foes has never been clear, that was hardly the point. Strider was speaking about the effect such foes would have on the North were it not for the Dúnedain, whose unknown efforts get repaid with scorn. Still I have from time to time wondered who or what he's talking about. If an author creates the illusion of depth, that very act invites us to embrace the perspective and inquire.  Of course that doesn't mean we'll find an answer, or even that there is one. Tolkien himself, for example, could only speculate about what happened to the Entwives (Letters, nos. 144 and 338), a question which far more people would like answered.

But a clue nearby in the text and a passage in the first draft are suggestive about who were the 'foes that would freeze [Butterbur's] heart.'  Just a moment earlier Strider had said: 'when dark things come from the houseless hills, or creep from sunless woods, they fly from us.' The use of the definite article before 'houseless hills' and its absence before 'sunless woods' suggests he has specific 'houseless hills' in mind. The phrase is in itself evocative, both raising and rejecting the idea that the hills are inhabited.  It also rather nicely suits the Barrow-downs, which are inhabited and not by creatures that are alive and not, and which are easily within a day's journey of Bree. This immediately invites us to ask whether barrow-wights can leave their barrows.

The answer to this, in Tolkien's thought if not in his published text, would seem to be that they can. For in his first attempt at 'the New Hobbit', as he originally called The Lord of the Rings, Tolkien portrayed barrow-wights as pursuing Tom Bombadil and the hobbits after he has rescued them (Shadow 112, 118-120).  Years before that in the poem, The Adventures of Tom Bombadil, Tom comes home to find one lying in wait for him (stanzas 17-19). Tolkien, moreover, had also spoken of barrow-wights in his commentary on the word 'orcneas' in Beowulf (112):

The O.E. word occurs only here, orc is found glossing Latin Orcus [Hell, Death]. neas seems certainly to be né-as, plural of the old (poetic) word né 'dead body'.... 

'Necromancy' will suggest something of the horrible association of this word. I think that what is here meant is that terrible northern imagination to which I have ventured to give the name 'barrow-wights'. The 'undead'. Those dreadful creatures that inhabit tombs and mounds, They are not living: they have left humanity, but they are 'undead'. With superhuman strength and malice they can strangle men and rend them. Glámr in the story of Grettir the Strong is a well known example. 

(Beowulf 163-64)

Tolkien's phrasing at the end is intriguing since he does not call the tale 'Grettis saga' or even 'the saga of Grettir the Strong', but 'the story of of Grettir the Strong', which is precisely what William Morris and Eiríkir Magnússon entitled their translation of it.  Tolkien owned this translation as well as many other works by Morris, which he admitted were an influence on him and which he sometimes read to his children (Hammond and Scull [2006] 2.599-601). More than that he also at times dealt with them on a professional level (Hammond and Scull [2006] 2.603-04).  Morris, moreover, uses the very odd and unusual word 'wraithlings' to describe a creature such as Glámr has become (chapter 33). This word, which translates ON smávofur, literally 'little ghost' -- in the saga it is used contemptuously by a character who presently learns the error of false pride -- is unknown to the first edition of the OED and Google Ngram finds no trace of it between 1500 and 2000.  Since it is so very rare, possibly even hapax legomenon, we may well wonder if it is the source from which Tolkien derived the notion he briefly entertained that the Ringwraiths were barrow-wights on horseback (Shadow 75, 118-120).

However much it may look like Tolkien still had the barrow-wights in mind when he wrote the words with which we began this inquiry, it remains difficult to say if this is so. We must be cautious in the way we treat details that come from texts written before or after the published text. Tolkien was always rethinking what he wrote, and that should give us pause. This is especially the case with things written later, like the shifting conceptions of Galadriel, who did not exist before the tale reached Lothlórien, but whose history emerged and evolved in the two decades The Lord of the Rings's appearance and Tolkien's death. Yet we should not be too quick to dismiss what he had written, especially in a draft, and regard possible links to it as something that Tolkien forgot to delete. Surely some of what appears in the drafts, but was not included in the final text, may help to create the illusion of depth for which Tolkien is so justly famous.

______________________

Works Consulted

______________________

'Fear not' and μὴ φοβεῖσθε -- The King Revealed (FR 2.ix.393)

'The Pillars of the Kings' © Ted Nasmith

Reflecting on Stephen Winter's latest post on the hands of the King made me think again of this passage, which led me to see suddenly an allusion to scripture I had not seen before, but which now seems so obvious, as such things always do. Consider: 

Sheer rose the dreadful cliffs to unguessed heights on either side. Far off was the dim sky. The black waters roared and echoed, and a wind screamed over them. Frodo crouching over his knees heard Sam in front muttering and groaning: 'What a place! What a horrible place! Just let me get out of this boat, and I'll never wet my toes in a puddle again, let alone a river!' 

'Fear not!' said a strange voice behind him. Frodo turned and saw Strider, and yet not Strider; for the weatherworn Ranger was no longer there. In the stern sat Aragorn son of Arathorn, proud and erect, guiding the boat with skilful strokes; his hood was cast back, and his dark hair was blowing in the wind, a light was in his eyes: a king returning from exile to his own land.

(FR 2.ix.393)

And Matthew 14:22-33 (KJV):

22 And straightway Jesus constrained his disciples to get into a ship, and to go before him unto the other side, while he sent the multitudes away. 

23 And when he had sent the multitudes away, he went up into a mountain apart to pray: and when the evening was come, he was there alone. 

24 But the ship was now in the midst of the sea, tossed with waves: for the wind was contrary. 

25 And in the fourth watch of the night Jesus went unto them, walking on the sea. 

26 And when the disciples saw him walking on the sea, they were troubled, saying, It is a spirit; and they cried out for fear. 

27 But straightway Jesus spake unto them, saying, Be of good cheer; it is I; be not afraid.

28 And Peter answered him and said, Lord, if it be thou, bid me come unto thee on the water. 

29 And he said, Come. And when Peter was come down out of the ship, he walked on the water, to go to Jesus. 

30 But when he saw the wind boisterous, he was afraid; and beginning to sink, he cried, saying, Lord, save me. 

31 And immediately Jesus stretched forth his hand, and caught him, and said unto him, O thou of little faith, wherefore didst thou doubt? 

32 And when they were come into the ship, the wind ceased. 

33 Then they that were in the ship came and worshipped him, saying, Of a truth thou art the Son of God.

We know from Mark 6:48 and John 6:19 that the apostles were rowing, just as the members of the Fellowship were rowing, which strengthens the possible link. We might even allow that Tolkien is a being a bit sly and mischievous, with Sam's swearing that he'll never stick even his toes in a puddle again if he gets out of the boat alive paralleling Peter's trying to walk on water, too. Moreover, the phrase present in Matthew, Mark, and John, μὴ φοβεῖσθε, which the KJV renders 'be not afraid' may equally well be translated 'fear not.' 

Of course Tolkien is not suggesting that Aragorn is Christ or even Christlike. Nor am I. The sword Aragorn brings is no metaphor. And a moment after he is revealed to Frodo as a king returning to his own land, his doubts about the course he should now take resurface and he wishes for the counsel of Gandalf.  Rather it is the demonstration of the King within him to those in the boat, just as it is Jesus' demonstration to his disciples that he is the Son of God, that lies at the heart of this parallel. In this moment those who follow them see them as far more than they had seen them before. 

________________________________

Works Consulted

________________________________

'She died' -- The Choice of Lúthien and the Destiny of the Elves (FR 1.xi.191-93)

In one of the most disappointing scenes in the extended edition of Peter Jackson's film, The Fellowship of the Ring, Strider and the hobbits are encamped in the wild. Frodo wakes to hear Strider singing The Lay of Leithian.  When Frodo asks him how the story ends, Strider murmurs sadly: 'She died.'  Given the fundamental and essential importance of the Tale of Beren and Lúthien to Tolkien's legendarium, as a lifelong reader of his works I could only be stunned by the choice Jackson made. I could only laugh in disbelief. I still do.

Now, whatever my opinion of the choice Peter Jackson made, it's his right as the film-maker to make it.  Clearly, since he chose to undermine the moral stature of nearly every mortal human in the story, and to change Aragorn from someone who has labored all his life towards this hour into someone full of doubts who has avoided the path that is as much his heritage as his destiny, the Tale of Beren and Lúthien cannot play the same role. To be fair, these choices make it very difficult to include it in any other way than he has done, as a sad commentary on the choice Arwen must make if she is to be with Aragorn. It is a limited and personal perspective.

How different a role The Lay of Leithian plays in Tolkien. There, in a tense moment as the Ringwraiths are closing in on them, Strider sings a song not only of sorrow, but of joy and love, of sacrifice and victory against a heartless darkness. Unlike the bit of Bilbo's simple translation of The Fall of Gil-galad, which Sam had sung to them just that morning and which ends in sadness and uncertainty, Strider's rendering of the Lay is as lush and intricate as the fates of its heroes, with final words that echo onward through the reunion beyond death of Beren and Lúthien to the renewed triumph of Eärendil and the Silmaril that they had made possible.

The Sundering Seas between them lay,
And yet at last they met once more,
And long ago they passed away
In the forest singing sorrowless 

(FR 1.xi.193)

Like the earlier but harder to understand fairy-tale encounter with Tom Bombadil, or like Gandalf's prosaic and terrifying history lesson in The Shadow of the Past, this is one of the moments in the text when the world of Middle-earth suddenly opens up for both hobbits and readers alike. This was especially so for those of us who read The Lord of the Rings before The Silmarillion was published and before instant resources like The Tolkien Gateway came to exist.  This poem was all we had. With the Lay's moving account, and with Strider's commentary not only on what the future held for Beren and Lúthien and their descendants, but even on the prosody of the verses he has just chanted, fairy-story and history come together and come alive as they have not done before.

Part of what accomplishes this blending is the aptness of the tale to the situation in which Strider and the hobbits find themselves, menaced by the same darkness that destroyed Amon Sûl centuries ago, the same darkness that centuries earlier than that Gil-galad had set forth from this place to fight. Though Gil-galad's star fell into shadow, Beren and Lúthien won a silmaril from the darkness against all hope, and to revive hope that jewel became a star to rise above all darkness.

Part of what accomplishes this is the unexpected elan with which the till now dour and wry Strider tells it. The depth of his sudden passion carries with it conviction:

As Strider was speaking they watched his strange eager face, dimly lit in the red glow of the wood-fire. His eyes shone, and his voice was rich and deep. Above him was a black starry sky.

(FR 1.xi.194)

Part of what accomplishes this is the enchanting beauty of the verses themselves. We've already heard quite a few poems before now, pub songs and bath songs and walking songs from the hobbits, the impossibly lofty hymn to Elbereth, the chill spell of the Barrow-wight, and the running wonder and delight of Bombadil. But we haven't heard anything that tells a story with such beauty and power. I'm sure I can't speak for everyone, but it was these verses in particular that first seized me and shook me and made me pay attention to Tolkien's poetry.

And the last part of what accomplishes this blending comes from outside The Lord of the Rings itself. For as Corey Olsen has recently argued, and I believe quite rightly, it is here, with the introduction of the story of Beren and Lúthien into this story, that The Lord of the Rings, and perforce The Hobbit as well, become once and for all part of the world of The Silmarillion. The literal globing of Arda that began with The Fall of Númenor is now literarily complete. The lines that were parallel on the flat world cross on the round. The Elrond, Necromancer, and Gondolin of The Hobbit are no longer lesser, alternate universe versions of themselves. This meeting of the worlds of myth and history gives a life to them that they did not have before, and so transforms the Tale of Beren and Lúthien into a means by which past, present, and future are linked together and may be measured against each other.

Thus Frodo and Sam's discussion of this tale on the stairs of Cirith Ungol gives them strength and courage to go on, and even to laugh at the darkness before they reach the pass; it gives Sam the courage to fight on against Shelob, just as Beren fought against the spiders in Nan Dungortheb; and when Frodo seems dead it gives him the resolve to go on living when all seemed lost, as Beren did, and as Túrin did not.  (The names of both heroes are evoked in this episode.) And just as the light of Eärendil's star in the phial of Galadriel enables Sam to rescue Frodo from the tower, so the glimpse he has of the star itself allows him to grasp the meaning of the Tale:

There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach.

(RK 6.ii.922)

It is this same light and beauty arising from the Tale of Beren and Lúthien that moves Strider so in the dell beneath Weathertop. But the Tale plays more than one role here. For if Frodo and Sam are repeating it on the level of the quest, Aragorn and Arwen are repeating it on the level of the love story. At first of course the readers don't know that, nor do they receive the least hint until Arwen enters the scene at Rivendell, where she is described in a lofty language similar to that which Aragorn used of Lúthien herself:

So it was that Frodo saw her whom few mortals had yet seen; Arwen, daughter of Elrond, in whom it was said that the likeness of Lúthien had come on earth again; and she was called Undómiel, for she was the Evenstar of her people. Long she had been in the land of her mother's kin, in Lórien beyond the mountains, and was but lately returned to Rivendell to her father's house.  

(FR 2.i.227).  

So we see here a connection established between Arwen and Lúthien, but her link to Strider remains unexpressed. Bilbo's words to Aragorn after dinner -- 'Why weren't you at the feast? The Lady Arwen was there' -- allude to it, but not so clearly that Frodo gets it, since he is surprised to see Aragorn at her side later that evening (FR 2.i.238). Yet, although the relationship of Arwen and Aragorn becomes more apparent with time (FR 2.vi.352; viii.375; RK 6.ii.775, 784; vi.847), it does not truly emerge until late in the tale that their love rehearses the key element of Beren and Lúthien's. Arwen herself makes it explicit: 'I shall not go with [my father] now when he departs to the Havens; for mine is the choice of Lúthien, and as she so have I chosen, both the sweet and the bitter' (RK 6.vi.974). It receives its fullest expression, however, only in The Tale of Aragorn and Arwen as the two confront the choice of Lúthien and its inevitable consequence: death.

Which brings us back to 'she died,' a summary not without its importance. When the Aragorn of the film says it, he does so as if there were nothing more to say: no victory over Morgoth, no return from death, no silmaril, no Eärendil, no star to dispute the darkness forever. It is a story, in short, with no hope. This very hopelessness, however, allows us to see how ripe with hope Aragorn's telling of this tale is in the book; and when we turn again to The Tale of Aragorn and Arwen the reason Aragorn finds such hope in The Tale of Beren and Lúthien becomes clearer:

'And Arwen said: "Dark is the Shadow, and yet my heart rejoices; for you, Estel, shall be among the great whose valour will destroy it."  

' But Aragorn answered: "Alas! I cannot foresee it, and how it may come to pass is hidden from me. Yet with your hope I will hope. And the Shadow I utterly reject. But neither, lady, is the Twilight for me; for I am mortal, and if you will cleave to me, Evenstar, then the Twilight you must also renounce." 

'And she stood then as still as a white tree, looking into the West, and at last she said: "I will cleave to you, Dúnadan, and turn from the Twilight. Yet there lies the land of my people and the long home of all my kin."

(RK A.1061)

'Yet with your hope I will hope' and 'I will cleave to you, Dúnadan' -- these are the words that inspire Strider at Weathertop as he sings the same song as when he first met Arwen and mistook her for Lúthien. Even in that moment Arwen said 'maybe my doom will not be unlike hers' (RK A.1058). Thus The Tale of Aragorn and Arwen expands our view of this scene. For by her choice Arwen does not just pledge herself to him, or merely repeat the choice of Lúthien, as romantic as that might be. She renews that choice by embracing the doom of Lúthien,

This doom [Lúthien] chose, forsaking the Blessed Realm, and putting aside all claim to kinship with those that dwell there; that thus whatever grief might lie in wait, the fates of Beren and Lúthien might be joined, and their paths lead together beyond the confines of the world. So it was that alone of the Eldalië she has died indeed, and left the world long ago. Yet in her choice the Two Kindreds have been joined; and she is the forerunner of many in whom the Eldar see yet, though all the world is changed, the likeness of Lúthien the beloved, whom they have lost.

(Silm. 187)

And

"I speak no comfort to you, [Aragorn said] for there is no comfort for such pain within the circles of the world. The uttermost choice is before you: to repent and go to the Havens and bear away into the West the memory of our days together that shall there be evergreen but never more than memory; or else to abide the Doom of Men."

"Nay, dear lord," [Arwen] said, "that choice is long over. There is now no ship that would bear the hence,and I must indeed abide the Doom of Men, whether I will or I nill: the loss and the silence. But I say to you, King of the Númenoreans, not till now have I understood the tale of your people and their fall. As wicked fools I scorned them, but I pity them at last. For if this is indeed, as the Eldar say, the gift of the One to Men, it is bitter to receive." 

"So it seems," [Aragorn] said. "But let us not be overthrown at the final test, who of old renounced the Shadow and the Ring. In sorrow we must go, but not in despair. Behold! we are not bound for ever to the circles of the world, and beyond them is more than memory, Farewell!"

(RK A 1062-63)

One of the most remarkable aspects of these passages from both tales, if taken together, is that in the end it is the Man who offers hope to the Elf. She must now hope with his hope, since she cannot foresee the end. Through the Choice of Lúthien the Man can offer the Elf something beyond memory, something beyond the bondage to the circles of the world to which the Elves are of their nature subject. What is more, since 'in her choice the Two Kindreds have been joined', and since through Arwen this choice was renewed, does this not suggest that the same hope may be in store for all Elves, and that they will not perish utterly with Arda at the world's ending? Is this then the 'release from bondage' which the very title of The Lay of Leithian proclaims?

To conclude that this is so would perhaps be hasty, and to argue that Lúthien and Arwen play some kind of messianic role would be foolish. Tolkien was seldom so clumsy. Yet it is clear that the Elves had their concerns about what would become of them after the end of the world (Silm. 42; Morgoth 311-26).  The Athrabeth Finrod ah Andreth, moreover, discusses these matters of life, death, and 'immortality', specifically in the context of 'the gulf that divides our kindreds' (Morgoth 323, emphasis original).  Finrod even suggests that part of the original role of Men might have been to help bring Elves across the gulf by facilitating the healing of Arda (Morgoth 318-19). Finally the dialogue of Finrod and Andreth ends with their discussion of the sad tale of the love of Andreth and Finrod's brother Aegnor, which could not bridge that gulf and join the kindreds as Beren and Lúthien were destined to do (Morgoth 323-25). Even so in its very last words Finrod asks Andreth to await Aegnor and himself in whatever light she finds beyond death (Morgoth 326), just as Lúthien later asks a dying Beren to wait for her (Silm. 186).

To be sure, some passages in the Athrabeth anticipate the biblical story of the Fall and the Incarnation, but that is hardly all there is. It is impossible not to see the Tale of Beren and Lúthien prefigured in the desperate lives of Andreth and Aegnor.  This attention to their failure to join their kindreds, presented in the culmination of the Athrabeth's discussion of life and death and the fates of Men and Elves in and beyond this world, is not to be slighted. It underlines the importance of those later loves that succeeded in bridging the gulf between the kindreds. Lúthien's departure beyond the circles of the world is as significant for the future of the Elves as Eärendil's rising as a star in the West is for the struggle against The Shadow. Each of them is a pathfinder and a testament to the 'deeper kind' of Hope or 'trust', the Elvish word for which is Estel (Morgoth 320).  It is also Aragorn's Elvish name, by which Arwen calls him in sorrow as he dies. The last word we hear from the mouth of Arwen Evenstar, who shared the doom of Lúthien and now shares the bitter gift of mortals, is hope.

_________________________________

Works Consulted

_________________________________

Some Thoughts on Structure and Meaning in The Lord of the Rings

Yes, Simon. There she is again

Quite a few years ago now in his still highly relevant article, 'The Interlace Structure of The Lord of the Rings', Richard West made clear how intricately woven together The Lord of the Rings is. Unlike the simpler and more 'organic' practice common in modern novels, the medieval technique of '[i]nterlace, by contrast, seeks to mirror the perception of the flux of events in the world around us' (West 78), which leads to a narrative that, like life, is 'cluttered', 'digressive', and 'chaotic' (79). But there's more to it than that, as West points out:

Yet the apparently casual form of the interlace is deceptive; it actually has a very subtle kind of cohesion. No part of the narrative can be removed without damage to the whole, for within any given section there are echoes of previous parts and anticipations of later ones. The medieval memory (lacking modern information retrieval systems and therefore necessarily greater than ours) delighted in following repetitions and variations of themes, whether their different appearances were separated by scores or hundreds of pages. Musical art gives an analogous aesthetic pleasure and shows a similar structural binding ... but in literature, the interlace structure allows detailed examination of any number of facets of a theme.

(West 79)

Now in the course of The Lord of the Rings Frodo offers to give the Ring to others three times, but all of these come in the first two books, and never again after that.  A proximate cause is easy to spot -- Boromir's attempt to take the Ring at the end of the second book -- but that is only part of it. It is not the truest cause.  For in the first two books Tolkien weaves together a series of offers by Frodo with a series of (real and imagined) attempts by others to take the Ring. How these offers and attempts are made are telling in themselves, but as with Boromir each of them is part of the larger web of the story and allows us to reflect on questions of the effect the Ring has on those who possess it, claim it, or who have considered what they might accomplish if it were theirs.

1. In The Shadow of the Past Frodo offers the Ring to Gandalf in fear, but has just proved himself unable even to throw the Ring into his fireplace, which, it has already been demonstrated, is scarcely able to warm it up (FR 1.ii.49-50, 60-61). Gandalf refuses the Ring, also out of fear, because he knows his 'pity for weakness and the desire of strength to do good' will make him a prey to the Ring's power. Given the truculence with which Bilbo, like Gollum before him, asserted and defended his claim to ownership of the Ring in A Long-expected Party, Frodo's offer to Gandalf is tantamount to a denial of a claim to the Ring. 


2. In The Council of Elrond Frodo, upon learning that Aragorn is Isildur's heir, seems almost relieved: '"Then [the Ring] belongs to you, and not to me at all!" cried Frodo in amazement, springing to his feet, as if he expected the Ring to be demanded at once.' Aragorn replies, 'It does not belong to either of us...but it has been ordained that you should hold it for a while' (FR 2.ii.237).  Frodo here in fact asserts Aragorn's claim to the Ring. This not only shows how true and wise Aragorn is by his refusal, but also supports the view taken above that Frodo has so far refused to claim the Ring. 


3. In The Mirror of Galadriel Frodo's perception of things that are hidden and secret is enlarged, because he is 'the Ring-bearer, and one who has seen the Eye' in Galadriel's Mirror. This puts him on more of an even footing with Galadriel, since it allows him to recognize her as another Ring-bearer. Now he asks her what she wants, just as she had asked all the members of the Fellowship earlier in this chapter, and the fears for Lothlórien she reveals in her response parallel Frodo's fears for the Shire in The Shadow of the Past (FR 1.ii.62), as well as those stirred in Sam by what he has just seen in the Mirror.  In all humility then, it seems, Frodo offers to give her the Ring, and by implication renounces any claim to it: 'I will give you the One Ring, if you ask for it. It is too great a matter for me.'  Like Gandalf and Aragorn, Galadriel also refuses, but not without admitting the dreams of power and glory she had dreamt, as she pondered what she would do if the Ring ever came into her possession; and not before giving Frodo a glimpse of the majesty she would attain with the One Ring on her hand (FR 2.vii.365-66). It is intriguing, however, that here the offer of the Ring is conditional -- 'if you ask for it.' Requiring her to ask for it is an assertion of power and control, and suggests that Frodo's attitude towards the Ring has been changing. It is also intriguing that no sooner does she reject the Ring than he asks her how he might use it to 'see all the [other Rings] and know the thoughts of others', which Galadriel warns him not to try, since to use the power of the Ring would require him to train his 'will to the domination of others.' To try, she says, 'would destroy you.'

In addition to these three offers to give up the Ring -- whether Frodo could have actually done so if anyone had accepted is another matter -- Books One and Two begin and end with attempts, two real and two imagined, to seize the Ring -- 

1. In A Long-expected Party Bilbo claims that the Ring is his when Gandalf urges him to give it to Frodo: 'It is my own. I found it. It came to me.' But, as Gandalf continues to press him, Bilbo grows paranoid and fears that Gandalf wants the Ring for himself and will try to take it by force.  He lays his hand on his sword, implicitly threatening the kind of violence he had so significantly eschewed by not stabbing Gollum when he had the chance (FR 1.i.34).  


2. In The Flight to the Ford the Black Riders very nearly catch Frodo at the Ford of Bruinen (FR 1.xii.213-15). He attempts to command them, but they laugh at him. His questioning Galadriel about using the Ring needs to be read in connection with his failure here. His later invocations of the Ring to control Gollum (TT 4.i.618, iii.640; RK 6.iii.943-44), his wondering whether he was ready to confront the Witch-king at Minas Morgul ('not yet' -- TT 4.viii.706), and his claiming the Ring for his own (RK 6.iii.945), are all obvious 'facets' of this 'theme', but so, too, is his subsequent mourning for its loss (RK 6.ix.1024)


3. In Many Meetings Bilbo's reaching out to touch the Ring sparks a reaction in Frodo as paranoid and close to violence as Bilbo's response to Gandalf had been (FR 2.i.232). This moment is significant in three ways: first, in showing the effect the Ring is already having on Frodo by recalling Bilbo's behavior in A Long-expected Party; second, by enabling Bilbo to understand at last what the Ring does to those who bear it; and third, by the alarmingly small effect this moment has on Frodo's understanding of what the Ring is doing to him: he just moves on. 


4. In The Breaking of the Fellowship Boromir almost succeeds in seizing the Ring for himself (FR 2.x.396-400).  Frodo escapes only because he uses the Ring, which also results in vastly expanding his perception of the world, but in doing so he nearly reveals himself to Sauron, just as he had almost done, it would seem, when looking into Galadriel's mirror 11 days earlier. 

As Boromir's attempt follows so closely upon Frodo' offer to Galadriel, it might be worthwhile to consider these two moments side by side. Galadriel confesses that she has wanted the Ring, but will not take it or ask for it. She knows well that any good she might do at first will only end in despair. Boromir does not have the wisdom to see this -- he imagines himself becoming 'a mighty king, benevolent and wise.'  He not only wants the Ring, but requests it and will brook no refusal.  Frodo's psychic brushes with Sauron in these episodes, which emphasize his own increasingly complex relationship with the Ring -- 'He heard himself crying out: Never, never! Or was it: Verily I come, I come to you?' (FR 2.x.401) -- must be viewed in context with Galadriel's silent probing of Boromir's mind at their first meeting in Lothlórien, an encounter   that left Boromir rattled and suspicious, and Galadriel concerned that he was in peril (TT 3.v.496). Who would grasp that peril better than she? Who would find her desire to save her land and people more unnerving than Boromir? As Faramir later wonders, from a fascinating perspective that encompasses both sides of the experience: 'What did she say to you, the Lady that dies not? What did she see? What woke in your heart then?' (TT 4.v.667).  Boromir and Galadriel will have seen in each other's thoughts a reflection of their own fears and desires.

There are of course other scenes in the first two books that we might examine in greater depth, to see how they might contribute to our understanding of the Ring and the relationship of Frodo and others to it. In addition to some of the passages cited within the points made above, the scenes in the Shire, at Bree, and on Weathertop would be worth closer inspection. From my discussion of these same passages we can also see that much more lies ahead, which I have not yet fully thought through, and which will doubtless alter my own understanding of what I have seen so far. Still it would be foolish to think that every last passage can or should be fitted into some sort of pattern, as tempting as that can often be. 

But there is one more rather eccentric piece of this puzzle that I think requires comment at this time. In The Old Forest Tom Bombadil comes plunging into the story like some rogue comet from the Oort Cloud. The hobbits spend most of three chapters in Tom's Country, measuring from the High Hay to the East Road beyond the Barrow-downs, just as they do later in Lothlórien. Unlike Galadriel, however, Bombadil asks to see the Ring, which Frodo, to his own surprise, gives him without demur, but when Bombadil puts on the Ring and makes it disappear instead of vanishing himself, Frodo becomes alarmed and suspicious. Even though Bombadil immediately returns the Ring, Frodo must test it to be sure he hasn't been tricked. Again, the Ring has no effect on old Tom, who sees Frodo quite clearly (FR 1.vii.132-33).  Pardoxically Frodo reveals himself by disappearing. The Ring is already at work on him. Unlike Galadriel and everyone else in The Lord of the Rings, however, Tom is his own Master and desires nothing but what he has. Thus the power of the Ring has no pull on him. He knows of the Ring, but seems to have little interest in it except as a curiosity (cf. FR 2.ii.265).

Like Lothlórien, Tom's Country is also Faërie. Under his mastery time there flows differently from time in Bree or The Shire or Rohan, but not in the same way as it does in Lórien, from which one emerges to find that one has fallen behind time in the mortal world. In Tom's Country it is always the present, but the past remains vibrant and accessible: Tom can still go singing out into the ancient starlight when only the Elf-sires were awake (FR 1.vi.131); the trees can remember 'the times when they were lords' (FR 1.vii.130); the Barrow-wights can recall the first Dark Lord (FR 1.viii.141); and visions of Dunedain kings, once and future, can rise up before the hobbits' eyes as well as in their dreams (FR 1.viii.143, 145-46).  In Galadriel's Golden Wood we may also see visions of times past and times perhaps to come, but the land itself is anchored in an age long gone: In Lórien the Elder Days 'still lived on in the waking world' (FR 2.vi.349), but only if she had the One Ring could she perhaps preserve it that way forever. Tom and his Country serve as another structural counterpoise to Galadriel and hers.

What, finally, is the theme whose facets we are examining through this extensive and intricate web? Perhaps that which Gandalf touched upon first in The Shadow of the Past and which Elrond expands upon in The Council of Elrond, two chapters which occupy the same position and play much the same part in their respective books:

‘A mortal, Frodo, who keeps one of the Great Rings, does not die, but he does not grow or obtain more life, he merely continues, until at last every minute is a weariness. And if he often uses the Ring to make himself invisible, he fades: he becomes in the end invisible permanently, and walks in the twilight under the eye of the dark power that rules the Rings. Yes, sooner or later – later, if he is strong or well-meaning to begin with, but neither strength nor good purpose will last – sooner or later the Dark Power will devour him.’

(FR 1.ii.47)

And:

'Alas, no,' said Elrond. 'We cannot use the Ruling Ring. That we now know too well. It belongs to Sauron and was made by him alone, and is altogether evil. Its strength, Boromir, is too great for anyone to wield at will, save only those who have already a great power of their own. But for them it holds an even deadlier peril. The very desire of it corrupts the heart. Consider Saruman. If any of the Wise should with this Ring overthrow the Lord of Mordor, using his own arts, he would then set himself on Sauron's throne, and yet another Dark Lord would appear. And that is another reason why the Ring should be destroyed: as long as it is in the world it will be a danger even to the Wise. For nothing is evil in the beginning. Even Sauron was not so. I fear to take the Ring to hide it. I will not take the Ring to wield it.' 

'Nor I,' said Gandalf. 

Boromir looked at them doubtfully, but he bowed his head. 'So be it,' he said.  

(FR 2.ii.267)

This is how good becomes evil. Boromir's question to Frodo on Amon Hen -- if the Wise won't wield the Ring, someone has to: 'Why not Boromir?' (FR 2.x.398) -- is not all that different from Frodo's asking Galadriel about using the Ring himself the moment she has refused his offer.

It will be interesting to see how this line of inquiry unfolds from here.




Richard C. West, 'The Interlace Structure of The Lord of the Rings' in Jared Lobdell, A Tolkien Compass (1975), pp. 77-94.

______________________________

Works Consulted

______________________________

No Laughing Matter: the Ring and the Quality of the Dúnedain

'We know the Ring is no laughing-matter; but we are going to do our best to help you against the Enemy,' says Merry to Frodo at Crickhollow  (FR 1.v.104), revealing for the first time the stout heart and shrewd mind he shows throughout the tale. There are, however, a couple of moments involving the Ring and humor that are themselves quite telling about the characters involved.

In The Prancing Pony, Strider several times indulges in humor at his own expense as he tries to convince the hobbits that he is not only a friend, but also the genuine Strider.  He banters with Frodo about his 'rascally look', 'with a curl of his lip and a queer gleam in his eye' (FR 1.x.164). He takes up Pippin's glib comments about 'lying for days in ... ditches' making them all look like Strider and responds that they would die in those ditches years before they looked like him, 'unless you are made of sterner stuff than you look to be' (FR 1.x.170-71).  Later he jokes with Frodo about how he looks: '"I see," laughed Strider. "I look foul and feel fair. Is that it?"' (FR 1.x.171). (Note also how Tolkien uses the easily spotted allusions to Shakespeare in these last two statements to draw our attention.)

But even before this last jest Strider's grim and self-effacing humor has already culminated in his pretending to threaten them to kill them and take the Ring, all in the effort to make a point to them about who he is, and is not:

Pippin subsided; but Sam was not daunted, and he still eyed Strider dubiously. 'How do we know you are the Strider that Gandalf speaks about?' he demanded. 'You never mentioned Gandalf, till this letter came out. You might be a play-acting spy, for all I can see, trying to get us to go with you. You might have done in the real Strider and took his clothes. What have you to say to that?' 

'That you are a stout fellow,' answered Strider; 'but I am afraid my only answer to you, Sam Gamgee, is this. If I had killed the real Strider, I could kill you. And I should have killed you already without so much talk. If I was after the Ring, I could have it – NOW!' 

He stood up, and seemed suddenly to grow taller. In his eyes gleamed a light, keen and commanding. Throwing back his cloak, he laid his hand on the hilt of a sword that had hung concealed by his side. They did not dare to move.  Sam sat wide-mouthed staring at him dumbly. 

'But I am the real Strider, fortunately,' he said, looking down at them with his face softened by a sudden smile. 'I am Aragorn son of Arathorn; and if by life or death I can save you, I will.' 

(FR 1.x.171)

Turning from one Captain of the Rangers to another, we find a similar moment with Sam and Faramir in Ithilien.  In his righteous eagerness to defend Frodo from what he feels are the unjust insinuations of Faramir, Sam gives away the secrets his master has tried so hard to conceal, that it is the One Ring which Frodo is carrying, and that Boromir tried to take it from him.

'Now look here, sir!' He turned, facing up to Faramir with all the courage that he could muster. 'Don't you go taking advantage of my master because his servant's no better than a fool. You've spoken very handsome all along, put me off my guard, talking of Elves and all. But handsome is as handsome does we say. Now's a chance to show your quality.' 

'So it seems,' said Faramir, slowly and very softly, with a strange smile. 'So that is the answer to all the riddles! The One Ring that was thought to have perished from the world. And Boromir tried to take it by force? And you escaped? And ran all the way – to me! And here in the wild I have you: two halflings, and a host of men at my call, and the Ring of Rings. A pretty stroke of fortune! A chance for Faramir, Captain of Gondor, to show his quality! Ha!' He stood up, very tall and stern, his grey eyes glinting.

Frodo and Sam sprang from their stools and set themselves side by side with their backs to the wall, fumbling for their sword-hilts. There was a silence. All the men in the cave stopped talking and looked towards them in wonder. But Faramir sat down again in his chair and began to laugh quietly, and then suddenly became grave again. 

'Alas for Boromir! It was too sore a trial!' he said. 

(TT 4.v.680-81)

Aside from the simple physical parallelism of Sam Undaunted standing up to a Man literally twice his size, we have him challenging Faramir to prove his quality, just as he had challenged Strider to prove his (though not in so many words). But the parallel works both ways, Faramir responds with humor and a feigned threat, just as Aragorn had done. He stands tall. There is a light in his eyes, and his stern manner frightens them. His 'Ha!' nicely punctuates his statement, just as Strider's 'NOW!' does his.  And as Aragorn had suddenly smiled at them to reveal his jest, Faramir does the same with laughter. But their humor offers no simple release. There's too much pain and irony in it for that.  Aragorn is the heir of Isildur, who did not destroy the Ring, and he lays his hand on the hilt of the broken sword with which Isildur cut it from Sauron's. Faramir realizes he had guessed the meaning of his and Boromir's dream aright after all -- 'So that is the answer to all the riddles' (emphasis mine) -- and that he was now presented with the same 'trial' as his brother had been, and with a far greater advantage of strength over Frodo than Boromir had boasted of. In the words 'Alas for Boromir!' his own situation confronts him.

Yet both Faramir and Aragorn turn from their sad humor to matters more serious.  Aragorn pledges his life to Frodo and the hobbits. Faramir briefly mourns his brother's 'too sore a trial,' and then tells the hobbits that he would not pick up the Ring if he found it in the road, converting a boast he had made in ignorance into a vow he would die to keep.  Since both Aragorn and Faramir have the hobbits at their mercy, and the Ring within their grasp, we should not be surprised to recall here another Captain of the Dúnedain, Boromir.  For during the scene in Ithilien with Faramir, only the reader is aware, poignantly so, that Boromir did not fall entirely, but after Frodo's escape recognized what he had done, repented of it, and in dying to protect Merry and Pippin redeemed himself.  'Few have gained such a victory,' Aragorn tells him before he dies (TT 3.i.414).

Yet back at the Council of Elrond, when Boromir first saw the Ring and he was pondering the 'riddle' of the dream he shared with his brother, his 'eyes glinted as he gazed at the golden thing’ (FR 2.ii.247). Unlike Faramir and Aragorn, however, he finds nothing to laugh at in the situation or in himself. Boromir came to Imladris to seek 'the meaning of a riddle' (FR 2.ii.247), but the answers he receives offer him nothing but doubt and perplexity. It is only in his 'too sore a trial' that he will find the crucible of his quality.

_________________________________

Works Consulted

_________________________________