Tom Bombadil: Mythology, Joy, and Hope

A short man skips through an eerie forest, singing songs and rescuing Hobbits from trees to offer them hospitality. Tom Bombadil, one of the most enigmatic characters in J. R. R. Tolkien’s The Lord of the Rings, enters the novel in such a lively manner. Merry, eccentric, and unclassifiable, Bombadil sometimes seems out-of-place in Tolkien’s legend, and has been ignored in numerous adaptations of Tolkien’s work, with producers often claiming his part as unnecessary. While Bombadil only features in The Lord of the Rings for a few short chapters, his role is more important than readers may realize on first reading of the curious man. Tom Bombadil is crucial to The Lord of the Rings because he ties the story to Tolkien’s powerful mythology, embodies the theme of joy against corruption, and demonstrates an overarching theology of abiding hope against evil.

            Tom Bombadil links The Lord of the Rings to the greater mythology of Tolkien’s world, bringing to life Tolkien’s love of myth. His existence before the time of Hobbits and Men allows readers to glimpse the past that created Middle-Earth’s current state. This past creates the mythopoeic awe readers feel when reading Tolkien’s work; without Bombadil’s existence as one of the few who lived throughout Middle-Earth’s history, readers could not appreciate Tolkien’s world. Bombadil asserts himself as one who lived in the beginning of the world, bridging the present with the past:

‘Eldest, that’s what I am [said Tom]…Tom was here before the river and the trees; Tom remembers the first raindrop and the first acorn. He made paths before the Big People, and saw the Little People arriving…He knew the dark under the stars when it was fearless—before the Dark Lord came from Outside.’ (Tolkien 131)

Tom’s summary of Middle-Earth’s history alludes to Tolkien’s The Silmarillion and shows the ages gone by and how they led to the present danger. If Tolkien had not included Tom Bombadil, this background would not exist. Bombadil, as a being of the days before the Third Age, can inform the reader about the grand scheme of Tolkien’s history.

'Eldest, that's what I am' (Tolkien 131)

            Moreover, Bombadil’s existence as a being unlike Hobbits, Men, Dwarves, and Elves also provides insight on the mythology of Middle-Earth. Until this point, the only species discussed in The Lord of the Rings, other than the evil creatures and the enigmatic Gandalf, are the four already mentioned. Bombadil introduces an older, elusive class of beings, hinting that others existed before Men and Elves who were greater than the other races. In The Silmarillion this is fully examined with the Valar and Maiar, but for The Lord of the Rings Bombadil must suffice to imply that there were greater beings in Middle-Earth. Some suggest that Bombadil is Aulë, one of the Valar mentioned in The Silmarillion, and his wife Goldberry is Aulë’s wife Yavanna (Lewis 151). However, during the events of The Silmarillion, the Valar leave Middle-Earth, making Bombadil’s identity as a Vala unlikely. Moreover, the Valar are portrayed as ethereal beings, a stark contrast to Bombadil’s animated character. More likely, Bombadil is one of the Maiar, which are described by Jacobs as “lesser angelic beings in service to the Valar” (82). Regardless of Bombadil’s race, both his existence from before time and his inability to be corrupted by the ring demonstrate that he is distinct from the Hobbits, Men, and others. This prompts readers to look beyond the setting of The Lord of the Rings and perceive both the existence of greater beings and the power of Tolkien’s mythology.

In fact, Bombadil as a mythological figure may best describe the mysterious character. Tolkien himself described Bombadil as a puzzle, noting that “even in a mythical Age there must be some enigmas, as there always are” (qtd. in Jacobs 80). Jacobs suggests that Bombadil’s existence may actually be a riddle for the wind taken from medieval myth tradition (Jacobs 84), with which Tolkien would have been familiar. Indeed, many of Tom Bombadil’s descriptions of his activities do evoke the wind, implying that he personifies it, as would be common in medieval lore. He states, “I have been walking wide, leaping on the hill-tops…nosing wind and weather, wet grass underfoot, wet sky above me” (Tolkien 128). Bombadil’s enigma, characteristic of medieval myth, demonstrates Tolkien’s love of mythology, causing the legend to become more real to readers. Bombadil captures Tolkien’s mythological vision, connecting The Lord of the Rings with Tolkien’s central mythology and basing it in real mythological conventions. If he had not been included, the mythopoeic power of Tolkien’s legend would have been much diminished.

'I have been walking wide, leaping on the hill-tops...nosing wind and weather, wet grass underfoot, wet sky above me' (Tolkien 128)

Besides demonstrating Tolkien’s love of mythology, Bombadil illustrates the author’s belief in the power of joy. Bombadil’s house presents a joyous scene of contentment amidst the terrors the Hobbits have faced. After days of being chased by Black Riders and a frightening incident in the Black Forest, the Hobbits enjoy a reprieve from fear in this happy scene, where Bombadil and his wife encourage them to “Laugh and be merry…fear nothing! For tonight you are under the roof of Tom Bombadil” (Tolkien 123). All well-written stories must have their times of danger and their times of rest or the suspense will wane. Tolkien uses Bombadil’s house to provide that rest for both the Hobbits and the readers rather than stretching the suspense and having the Hobbits continue to the dangers of Bree and Weathertop. He maintains good storytelling as he does so and introduces an important theme in the story: joy as a force against fear.

Indeed, Tolkien would have been familiar with fear. Chapman-Morales writes, “Tolkien, having lived through two world wars, knew that in times of darkness and despair it could be difficult to believe in joy” (60). Until Bombadil’s chapter, readers may have felt that there can be no happiness for the Hobbits as they persist towards a certain doom. However, Bombadil’s unwavering joy taunts the darkness surrounding the Hobbits’ journey and starts the Hobbits on their own path of laughter in the face of evil. Chapman-Morales writes, “Joy gives power to those who know that ultimate victory belongs to the side of goodness. Thus, expressing joy is a form of defiance to evil, and as the nexus of joy, Bombadil can teach Frodo this important form of resisting evil” (61). Bombadil, in multiple instances, demonstrates his fearlessness by singing and laughing at situations where the Hobbits are terrified, such as in the Old Man Willow incident: “‘Master Merry’s being squeezed in a crack!’ cried Sam. ‘What?’ shouted Tom Bombadil, leaping up in the air. ‘Old Man Willow…I’ll freeze his marrow cold…I’ll sing his roots off. I’ll sing a wind up’” (Tolkien 120). Moreover, amidst the ghastliness and terror of the Barrow-Downs, Bombadil still arrives with cheer and singing: “There was a sudden deep silence, in which Frodo could hear his heart beating…he heard plain, but far away…an answering voice singing: Old Tom Bombadil is a merry fellow…Tom, he is the master: / His songs are stronger songs, and his feet are faster” (Tolkien 142). Joy is Bombadil’s great power against evil and fear. For Tolkien, joy must be the source of courage amidst dark times such as the world wars, and he draws this connection between joy and courage through Goldberry’s words to the Hobbits, hinting at the reason behind Bombadil’s bravery against all opposition.

'His songs are stronger songs, and his feet are faster' (Tolkien 142)

Moreover, joy and laughter are implied to be the source of Bombadil’s invulnerability to the Ring. Unlike every other character in The Lord of the Rings, Bombadil is unaffected by the Ring’s power and untouched by lust for it. Indeed, he laughs at it as if it is a joke: “Tom laughed again, and then he spun the Ring in the air—and it vanished without a flash. Frodo gave a cry—and Tom leaned forward and handed it back to him with a smile” (Tolkien 132) As Tolkien says, Bombadil “has no fear, and no desire of possession or domination at all” (qtd. in Treschow and Duckworth 187). The Ring’s corruption does not affect Bombadil because, unlike any of the other characters in The Lord of the Rings, he wants for nothing. He is content and joyful at his lot and thus cannot be influenced to seize the Ring for power, pity, or any of the other reasons even good characters might be tempted to take it. As he does not desire power, he does not become invisible when he puts on the Ring. By showing that the Ring is not all-powerful and can be resisted through joy, Bombadil strengthens the Hobbits’ resolve, perhaps even being the source of their courage to take the Ring to Mordor. Due to his fearless nature surrounding the Ring, Bombadil prepares the Hobbits for the joy they will need to carry them on the journey ahead, making himself a necessary component of their character arcs. Chapman-Morales states, “Bombadil saves the hobbits and leads them out of the Old Forest so they can continue their quest after having learned the light that joy can provide to resist the darkness of evil” (73). Without Bombadil’s incessant songs and laughter, the Hobbits would have missed a crucial piece of wisdom to prepare them for their upcoming battle, and an important part of Tolkien’s own theology would also have been neglected.

Similar to Bombadil’s expression of joy is the hope that he provides for the Hobbits, a hope that captures Tolkien’s belief in a concept called eucatastrophe. Initially, Bombadil’s home demonstrates this hope that will follow the Hobbits throughout all of their travels. Bombadil’s house is a haven for the Hobbits after their difficult journey. The language Tolkien uses to describe the home evokes light and safety and hope, as he writes, “they saw the twinkling lights of a house. Down again the path went…towards the light. Suddenly a wide yellow beam flowed out brightly…There was Tom Bombadil’s house before them” (122). The excessive use of the word “light” in this passage illustrates the power of hope expressed in Bombadil’s home, which represents a beacon of goodness still remaining despite evil growing in the land. Bombadil’s home is the first of many places demonstrating that hope yet lives in Middle-Earth because it indicates that resistance to evil is possible. Hope, a central theme of Tolkien’s novel, is what drives the Hobbits and other heroes to even attempt to destroy the Ring. Gandalf states, “It is not despair, for despair is only for those who see the end beyond all doubt. We do not,” when being questioned on why they must take the dangerous journey to destroy the Ring (Tolkien 269). Without Bombadil’s crucial scenes, the Hobbits’ outlook on the future might have been drastically changed, preventing the hope that leads them on their quest.

            Bombadil especially represents Tolkien’s belief in eucatastrophe—the idea that even in the worst of times, goodness will succeed. Thus, Christians shall always have hope in victory. This is a crucial part of Tolkien’s theology, that “all evil will be turned to good” (Chapman-Morales 136). Even when believers think that darkness will win, goodness will always ultimately triumph. This is demonstrated throughout The Lord of the Rings when the Hobbits expect death and Sauron’s victory, but they are suddenly rescued or achieve some other victory for goodness. Multiple times, Bombadil saves the Hobbits from danger at the last moment. He rescues them from Old Man Willow right before they would have been squeezed to death, and he arrives just in time to arouse the Hobbits when they might have been trapped in a barrow forever. When all hope is lost, he is always there to prevent certain doom. In fact, his prompt rescue of the Hobbits from Old Man Willow is the first instance of eucatastrophe in The Lord of the Rings, setting the stage for many other instances of unexpected salvation:

Frodo, without any clear idea of why he did so…ran along the path crying help! help! help!...Suddenly he stopped. There was an answer…with another hop and a bound there came into view a man, or so it seemed…He had a blue coat and a long brown beard; his eyes were blue and bright, and his face was red as a ripe apple, but creased into a hundred wrinkles of laughter (Tolkien 118-119)

Bombadil’s inclusion provides early instances of eucatastrophe. Had he been omitted, the hints of such hope would have had to be postponed to the scene at the Ford. Instead, Bombadil provides early inclusion of Tolkien’s worldview regarding eucatastrophe, a theme running throughout The Lord of the Rings.

            Tom Bombadil, far from unnecessary to The Lord of the Rings, brings to life Tolkien’s mythology and introduces to the Hobbits and readers important values of joy and hope that feature in Tolkien’s work. Rather than being neglected because his scenes initially seem nonessential, Bombadil should be studied and recognized as a powerful force in the plot of the novel. Understanding Bombadil’s necessity as an expression of much of Tolkien’s values helps readers comprehend the beautiful part he plays in The Lord of the Rings and appreciate the power of Tolkien’s legend.

Works Cited

Chapman-Morales, Robert B. “Fearless Joy: Tom Bombadil’s Function in The Lord of the Rings.” Mythlore, 2020.

Jacobs, Suzanne. “Tolkien’s Tom Bombadil: An Enigma (Intentionally).” J.R.R. Tolkien and the “Present Moment of the Past”: Intertextuality, Allusion, and the Tower of Story in Selected Episodes of The Lord of the Rings. University of Pretoria, 2018.

Lewis, Paul W. “Beorn and Tom Bombadil: A Tale of Two Heroes.” Mythlore, 2007.

Tolkien, John Ronald Reuel. The Fellowship of the Ring. Houghton Mifflin, 2004.

Tolkien, John Ronald Reuel, and Christopher Tolkien. The Silmarillion. Edited by Christopher Tolkien, Houghton Mifflin, 2001.

Treschow, Michael, and Mark Duckworth. “Bombadil’s Role in The Lord of the Rings.” Mythlore, 2006.