Goldberry | |
---|---|
Tolkien character | |
In-universe information | |
Aliases | River-woman's daughter |
Spouse | Tom Bombadil |
Book(s) | The Fellowship of the Ring (1954) The Adventures of Tom Bombadil (1962) Tales from the Perilous Realm (1997) |
Goldberry is a character from the works of the author J. R. R. Tolkien. She first appeared in print in a 1934 poem, The Adventures of Tom Bombadil, where she appears as the wife of Tom Bombadil. Also known as the "River-woman's daughter", she is described as a beautiful, youthful woman with golden hair. She is best known from her appearance as a supporting character in Tolkien's high fantasy epic The Lord of the Rings , first published in 1954 and 1955.
Like her husband, Goldberry's role and origins are enigmatic and have been debated by scholars. On her possible origins, scholars have compared her with a character in George MacDonald's 1867 fairy tale The Golden Key , and with the eponymous character in the late-medieval lyric poem The Maid of the Moor . Her characterisation has been described as a mixture of the domestic and the supernatural, connected in some way with the river Withywindle in the Old Forest of Middle-earth. Some have suggested that she may be a divine being in Tolkien's mythology; others, that she recalls the biblical Eve, a token of the unfallen creation; and an embodiment of joy, serving with Tom Bombadil as a model of the Catholic sacrament of marriage.
Both Bombadil and Goldberry were omitted from Peter Jackson's film trilogy; they were, however, included in the 1991 Russian television play Khraniteli and the second season of The Lord of the Rings: The Rings of Power .
J. R. R. Tolkien never explored the specific details regarding Goldberry's origins. Tom Bombadil clearly identifies her as having been discovered by him in the river Withywindle within the Old Forest, and her title "River-woman's daughter" strongly suggests that she is not a mortal human being. In a 1958 letter, Tolkien wrote that Goldberry "represents the actual seasonal changes" in "real river-lands in autumn". [T 1] He conveyed this notion through a poem recited by Frodo Baggins in The Fellowship of the Ring , specifically the lines "O spring-time and summer-time, and spring again after!" [T 2]
For the scholar of literature Isabelle Pantin, the sequence involving Goldberry in The Lord of the Rings is reminiscent of a passage from The Golden Key by George MacDonald: the heroine, Tangle, after having almost been suffocated by a tree believing herself being pursued by the bears of Goldilocks, is taken in by a kindly old lady dressed in a mermaid's finery and holding a basin full of fish. Pantin noted that Goldberry herself is reminiscent of the Goldilocks character: she has a similar hairstyle and her house appears to be as comfortable as that of the bears'. [1]
The Tolkien scholar John M. Bowers writes that Goldberry recalls The Maid of the Moor , a late-medieval lyric familiar to Tolkien which contains the lines [2]
Goldberry first appeared in Tolkien's 1934 poem, The Adventures of Tom Bombadil, [4] re-worked into a 1962 poetry collection of the same name. [5] The poem tells of how she drags Tom into the river before he escapes, returning later to capture her and make her his bride. [5]
In The Fellowship of the Ring, the first volume of The Lord of the Rings, Frodo and his companions Sam, Merry, and Pippin encounter Goldberry and Tom in the Old Forest near Buckland. After the Hobbits are rescued from Old Man Willow, the couple offers them refuge in their cottage, which is surrounded by a pond of water lilies. The hobbits' stay is brief but strange, for Bombadil and Goldberry are clearly more than they seem. Like her earlier incarnation, Goldberry retains a link with nature, and more particularly running water. She is described as having a mermaid adornment on her hair, her gown "rustled softly like the wind on the flowered banks of a river" as she ran, and the songs she sings to the hobbits remind them of "ponds and waters larger than they had ever known." [T 3] [T 4]
Goldberry's final reference in Tolkien's works prior to his death is in the poem Once Upon a Time, published in 1965. [6] Described as wearing "a wild-rose crown", she blows away a dandelion clock from within a lady-smock. [lower-alpha 1] [7]
Her long yellow hair rippled down her shoulders; her gown was green, green as young reeds, shot with silver like beads of dew; and her belt was of gold, shaped like a chain of flag-lilies set with the pale-blue eyes of forget-me-nots. About her feet in wide vessels of green and brown earthenware, white water-lilies were floating, so that she seemed to be enthroned in the midst of a pool.
— The Fellowship of the Ring , book 1, ch. 7, "In the House of Tom Bombadil"
Goldberry does not fit easily into any of Tolkien's definitions of sentient beings in his world, and like Tom Bombadil she remains an enigma. [8] With regards to Goldberry's true nature within the context of Middle-earth, the Tolkien scholar Tom Shippey suggested that Goldberry is similar to the many named water spirits of traditional English folklore such as Jenny Greenteeth or Peg Powler of the River Tees, though she is a noticeably gentler figure than they are. [5] The scholar Ann McCauley believed that she is likely a water sprite, [9] while John D. Rateliff suggested that, at least within the context of Tolkien's early mythology, she should be seen as one of the wide category of fays, spirits, and elementals. [10] Goldberry's association with water, writes Leo Carruthers , thematically links Bombadil with Väinämöinen and his fiancée Aino from the Kalevala , the Finnish national epic. [11]
The scholar Ruth Noel calls Bombadil and Goldberry "undisguised personifications of land untouched by humans". [12]
Another proposed explanation is that she is one of the Ainur, specifically the Vala Yavanna. [9] [8] There are physical similarities between Goldberry and Yavanna: both characters have blond hair and dress in green, and are associated with the plant kingdom, which would make Tom Bombadil an avatar of Aulë, husband of Yavanna. [13] Taryne Jade Taylor associates Goldberry with the Greek myth of the goddess Persephone, for the way she is captured by Bombadil and its association with the rhythm of the seasons, as well as Étaín, a deity in Irish mythology associated with light. [14] For Christina Ljungberg, Goldberry is one of the three divinities of personified Nature that exist on the side of good: she represents the immanent goddess, while Elbereth or Varda represents the transcendent goddess, and the elf queen Galadriel combines these two aspects. [15]
Goldberry, with the smooth and kind way she relates to her odd husband Tom Bombadil and through her elegance, accomplishment, and connection to the natural world, brings much needed peace to Tolkien's The Lord of the Rings. She seeks nothing, longs for nothing, yet appreciates and nurtures everything and everyone around her.
— Katherine Hasser, J.R.R. Tolkien Encyclopedia: Scholarship and Critical Assessment [8]
In the J.R.R. Tolkien Encyclopedia , Katherine Hasser observed that Goldberry appeared to the hobbits in the diverse roles of "goddess, nurturer, and manager of domestic responsibilities". With regards to her initial appearance, Hasser said Tolkien's description evokes a "Botticelli-like image of a woman embodied and surrounded by the natural characteristics of her environment", and her clothing reflects her peaceful, symbiotic connection with the natural world. [8]
Goldberry is sometimes discussed in critical commentary about the roles of women in The Lord of the Rings. She is presented as a hospitable domestic figure, [9] a good hostess who feeds passing travellers. [8] While the scholar of children's literature Melissa McCrory Hatcher called her "a mystical washer-woman", [16] Hasser emphasized that the most significant point about Goldberry as a feminine figure is that she shares a cooperative and reciprocal domestic relationship with Bombadil, with a dynamic of equality that is not seen in other romantic pairings in Tolkien's body of work as the other Middle-earth peoples often have a clearer separation of gender roles within their societies. [8] Hasser noted that Goldberry is the sole female character in The Lord of the Rings who does not have a personal agenda, and that she provides a feminine figure who is "pure, content, significant to the world around her, and wise" in its narrative. [8]
For several critics, the appearance of Goldberry in The Lord of the Rings foreshadows that of Galadriel's later appearance: both are beautiful and of regal stature, live in an isolated domain and are associated with water. [8] [17] [18] Ann McCauley Basso compared Goldberry as a biblical Eve figure to Galadriel's Mary. [9] In an entry on redemption in mythopoeic writing by the Catholic writer Joseph Pearce for the J.R.R. Tolkien Encyclopedia, the apparent innocence and primitive nature of Goldberry and Tom Bombadil is analogous to Adam and Eve, as they represent the "Unfallen Creation". [19]
The scholar Brandon Best sees Goldberry's relationship to Tom Bombadil as a model of the sacrament of marriage, something to be witnessed rather than explained. Further, they sing of all creation, celebrating the natural order, and they include themselves as part of that order, with Goldberry's song: [20]
Wind on the open hill, bells on the heather,
Reeds by the shady pool, lilies on the water:
Old Tom Bombadil and the River-daughter! [T 3]
Robert Chapman-Morales notes that scholars such as L. Eugene Startzman and Jennifer Raimundo see Goldberry and Bombadil as embodiments of unexpected joy, an aspect of Tolkien's eucatastrophe. [17] [21] He quotes one of Tolkien's letters: "the government of a 'family' ... was not a monarchy ... It was a 'dyarchy', in which master and mistress had equal status, if different functions." [T 5] [21] He notes also that Basso describes the couple's marital joy, [9] and he remarks on their "mutual respect when we see how different they are, yet how perfectly they work together". [21]
In a twelve-part radio adaptation of The Lord of the Rings which ran from 1955 to 1956, the producer Terence Tiller wrote Goldberry as Tom Bombadil's daughter. [22] This alteration annoyed Tolkien, [T 6] though he conceded that the events described in the 1934 poem are not clearly summarized in the published version of The Lord of the Rings. [22]
The chapters involving the Old Forest and its characters were omitted from Brian Sibley and Michael Bakewell's 1981 radio adaptation of The Lord of the Rings. [23] In 1992, Sibley produced a radio series, Tales from the Perilous Realm, which featured short texts by Tolkien; the episode "The Adventures of Tom Bombadil" covered The Lord of the Rings chapters cut from the 1981 adaptation, including those about the Old Forest. Goldberry is voiced by Sorcha Cusack for the adaptation. [24]
In 1957 Tolkien was consulted about a cartoon of The Lord of the Rings, its first proposed cinematic treatment. On the subject of Goldberry, he said he would much rather that she be omitted from the adaptation than make a cameo appearance without context or meaning. [T 6] The film director Peter Jackson omitted Goldberry and Bombadil from his films; he stated that this was because they did little to advance the story and would have made the films unnecessarily long. [26]
Only one adaptation includes Goldberry, the 1991 Russian Khraniteli , where she is portrayed by Regina Lialeikite (as "Zolotinka" [lower-alpha 2] ). The version uses a green screen technique to present her as much larger than the hobbits dining at her table. [25]
Goldberry is portrayed by Raya Yarbrough in the second season of The Lord of the Rings: The Rings of Power . [27]
Along with Bombadil, Goldberry appears as a non player character in the 2002 video game The Lord of the Rings: The Fellowship of the Ring , where she is voiced by Kath Soucie. [28]
Goldberry appears in the massively multiplayer online role-playing game The Lord of the Rings Online . She is found in "Goldberry's Glade" in the Old Forest, where a quest to gather lilies on her behalf at the foot of Old Man Willow is given to the player by Bombadil. [29] Her race is referred to as "River-maid", as the game also features Goldberry's sister Naruhel, an original character who is of a darker and crueller nature. [30]
The 1969 Harvard Lampoon novel Bored of the Rings depicts a parody character named "Hashberry", partner to the equally drug-soaked Tim Benzedrine. [31] Her name was a reference to Haight-Ashbury, [32] a district of San Francisco nicknamed Hashbury and widely seen as the origin of hippie counterculture. [33]
The 2023 Magic: The Gathering set The Lord of the Rings: Tales of Middle-earth includes the card “Goldberry, River-Daughter” and represents her as a Nymph whose color alignment is blue.
Beorn is a character created by J. R. R. Tolkien, and part of his Middle-earth legendarium. He appears in The Hobbit as a "skin-changer", a man who could assume the form of a great black bear. His descendants or kinsmen, a group of Men known as the Beornings, dwell in the upper Vales of Anduin, between Mirkwood and the Misty Mountains, and are counted among the Free Peoples of Middle-earth who oppose Sauron's forces during the War of the Ring. Like the powerful medieval heroes Beowulf and Bödvar Bjarki, whose names both mean "bear", he exemplifies the Northern courage that Tolkien made a central virtue in The Lord of the Rings.
Tom Bombadil is a character in J. R. R. Tolkien's legendarium. He first appeared in print in a 1934 poem called "The Adventures of Tom Bombadil", which also included The Lord of the Rings characters Goldberry, Old Man Willow and the barrow-wight, from whom he rescues the hobbits. They were not then explicitly part of the older legends that became The Silmarillion, and are not mentioned in The Hobbit.
The Rings of Power are magical artefacts in J. R. R. Tolkien's legendarium, most prominently in his high fantasy novel The Lord of the Rings. The One Ring first appeared as a plot device, a magic ring in Tolkien's children's fantasy novel, The Hobbit; Tolkien later gave it a backstory and much greater power. He added nineteen other Great Rings, also conferring powers such as invisibility, that it could control, including the Three Rings of the Elves, Seven Rings for the Dwarves, and Nine for Men. He stated that there were in addition many lesser rings with minor powers. A key story element in The Lord of the Rings is the addictive power of the One Ring, made secretly by the Dark Lord Sauron; the Nine Rings enslave their bearers as the Nazgûl (Ringwraiths), Sauron's most deadly servants.
The Adventures of Tom Bombadil is a 1962 collection of poetry by J. R. R. Tolkien. The book contains 16 poems, two of which feature Tom Bombadil, a character encountered by Frodo Baggins in The Lord of the Rings. The rest of the poems are an assortment of bestiary verse and fairy tale rhyme. Three of the poems appear in The Lord of the Rings as well. The book is part of Tolkien's Middle-earth legendarium.
In J. R. R. Tolkien’s fictional universe of Middle-earth, the Old Forest was a daunting and ancient woodland just beyond the eastern borders of the Shire. Its first and main appearance in print was in the chapter of the 1954 The Fellowship of the Ring titled "The Old Forest". The hobbits of the Shire found the forest hostile and dangerous; the nearest, the Bucklanders, planted a great hedge to border the forest and cleared a strip of land next to it. A malign tree-spirit, Old Man Willow, grew beside the River Withywindle in the centre of the forest, controlling most of it.
The following outline is provided as an overview of and topical guide to the real-world history and notable fictional elements of J. R. R. Tolkien's fantasy universe. It covers materials created by Tolkien; the works on his unpublished manuscripts, by his son Christopher Tolkien; and films, games and other media created by other people.
Scholars and critics have identified many themes of The Lord of the Rings, a major fantasy novel by J. R. R. Tolkien, including a reversed quest, the struggle of good and evil, death and immortality, fate and free will, the danger of power, and various aspects of Christianity such as the presence of three Christ figures, for prophet, priest, and king, as well as elements like hope and redemptive suffering. There is also a strong thread throughout the work of language, its sound, and its relationship to peoples and places, along with moralisation from descriptions of landscape. Out of these, Tolkien stated that the central theme is death and immortality.
Magic in Middle-earth is the use of supernatural power in J. R. R. Tolkien's fictional Middle-earth. Tolkien distinguishes ordinary magic from witchcraft, the latter always deceptive, stating that either type could be used for good or evil.
In J. R. R. Tolkien's fantasy The Lord of the Rings, Old Man Willow is a malign tree-spirit of great age in Tom Bombadil's Old Forest, appearing physically as a large willow tree beside the River Withywindle, but spreading his influence throughout the forest. He is the first hostile character encountered by the Hobbits after they leave the Shire.
Frodo Baggins is a fictional character in J. R. R. Tolkien's writings and one of the protagonists in The Lord of the Rings. Frodo is a hobbit of the Shire who inherits the One Ring from his cousin Bilbo Baggins, described familiarly as "uncle", and undertakes the quest to destroy it in the fires of Mount Doom in Mordor. He is mentioned in Tolkien's posthumously published works, The Silmarillion and Unfinished Tales.
Galadriel is a character created by J. R. R. Tolkien in his Middle-earth writings. She appears in The Lord of the Rings, The Silmarillion, and Unfinished Tales.
The Fellowship of the Ring is the first of three volumes of the epic novel The Lord of the Rings by the English author J. R. R. Tolkien. It is followed by The Two Towers and The Return of the King. The action takes place in the fictional universe of Middle-earth. The book was first published on 29 July 1954 in the United Kingdom. The volume consists of a foreword, in which the author discusses his writing of The Lord of the Rings, a prologue titled "Concerning Hobbits, and other matters", and the main narrative in Book I and Book II.
The poetry in The Lord of the Rings consists of the poems and songs written by J. R. R. Tolkien, interspersed with the prose of his high fantasy novel of Middle-earth, The Lord of the Rings. The book contains over 60 pieces of verse of many kinds; some poems related to the book were published separately. Seven of Tolkien's songs, all but one from The Lord of the Rings, were made into a song-cycle, The Road Goes Ever On, set to music by Donald Swann. All the poems in The Lord of the Rings were set to music and published on CDs by The Tolkien Ensemble.
The impression of depth in The Lord of the Rings is an aesthetic effect deliberately sought by its author, J. R. R. Tolkien. It was intended to give the reader the feeling that the work had "deep roots in the past", and hence that it was attractively authentic.
The roles of women in The Lord of the Rings have often been assessed as insignificant, or important only in relation to male characters in a story about men for boys. Meanwhile, other commentators have noted the empowerment of the three major women characters, Galadriel, Éowyn, and Arwen, and provided in-depth analysis of their roles within the narrative of The Lord of the Rings.
Tolkien's monsters are the evil beings, such as Orcs, Trolls, and giant spiders, who oppose and sometimes fight the protagonists in J. R. R. Tolkien's Middle-earth legendarium. Tolkien was an expert on Old English, especially Beowulf, and several of his monsters share aspects of the Beowulf monsters; his Trolls have been likened to Grendel, the Orcs' name harks back to the poem's orcneas, and the dragon Smaug has multiple attributes of the Beowulf dragon. The European medieval tradition of monsters makes them either humanoid but distorted, or like wild beasts, but very large and malevolent; Tolkien follows both traditions, with monsters like Orcs of the first kind and Wargs of the second. Some scholars add Tolkien's immensely powerful Dark Lords Morgoth and Sauron to the list, as monstrous enemies in spirit as well as in body. Scholars have noted that the monsters' evil nature reflects Tolkien's Roman Catholicism, a religion which has a clear conception of good and evil.
The philologist and author J. R. R. Tolkien set out to explore time travel and distortions in the passage of time in his fiction in a variety of ways. The passage of time in The Lord of the Rings is uneven, seeming to run at differing speeds in the realms of Men and of Elves. In this, Tolkien was following medieval tradition in which time proceeds differently in Elfland. The whole work, too, following the theory he spelt out in his essay "On Fairy-Stories", is meant to transport the reader into another time. He built a process of decline and fall in Middle-earth into the story, echoing the sense of impending destruction of Norse mythology. The Elves attempt to delay this decline as far as possible in their realms of Rivendell and Lothlórien, using their Rings of Power to slow the passage of time. Elvish time, in The Lord of the Rings as in the medieval Thomas the Rhymer and the Danish Elvehøj, presents apparent contradictions. Both the story itself and scholarly interpretations offer varying attempts to resolve these; time may be flowing faster or more slowly, or perceptions may differ.
Tolkien's poetry is extremely varied, including both the poems and songs of Middle-earth, and other verses written throughout his life. Over 60 poems are embedded in the text of The Lord of the Rings; there are others in The Hobbit and The Adventures of Tom Bombadil; and many more in his Middle-earth legendarium and other manuscripts which remained unpublished in his lifetime, some of book length. Some 240 poems, depending on how they are counted, are in his Collected Poems, but that total excludes many of the poems embedded in his novels. Some are translations; others imitate different styles of medieval verse, including the elegiac, while others again are humorous or nonsensical. He stated that the poems embedded in his novels all had a dramatic purpose, supporting the narrative. The poems are variously in modern English, Old English, Gothic, and Tolkien's constructed languages, especially his Elvish languages, Quenya and Sindarin.
Scholars, including psychoanalysts, have commented that J. R. R. Tolkien's Middle-earth stories about both Bilbo Baggins, protagonist of The Hobbit, and Frodo Baggins, protagonist of The Lord of the Rings, constitute psychological journeys. Bilbo returns from his journey to help recover the Dwarves' treasure from Smaug the dragon's lair in the Lonely Mountain changed, but wiser and more experienced. Frodo returns from his journey to destroy the One Ring in the fires of Mount Doom scarred by multiple weapons, and is unable to settle back into the normal life of his home, the Shire.
J. R. R. Tolkien repeatedly uses dreams and visions in his Middle-earth writings to create literary effects, allowing the narrative to transition between everyday reality and awareness of other kinds of existence. He follows the conventions of the dream vision in early medieval literature, and the tradition of English visionary writing of Edmund Spenser and John Milton.
After finding Tom in Chapter 9: Lilies for the River-daughter, he agrees to help you—only if you collect lilies for his wife Goldberry. Tom warns you that the lilies are guarded by the ancient tree known as Old Man Willow. Some say that this venerable tree and its dark heart is the source of all that is evil within the Old Forest.