Episode 133 Summary

Tony Meade

Active Member
SESSION 133

On a reexamining of Boromir’s tale:
  • It’s important to remember that at this point in the story, we know nothing about Boromir’s brother. We don’t know his name, or if he is an older or younger brother.
  • We also don’t know anything about Boromir’s rank or heritage or relationship to the Steward.
  • Another thing that we can be sure of is Boromir’s valor and might as a warrior, since he is one of the few men who were able to hold the bridge long enough to destroy it and then escape.
  • There were certainly many more men who died holding the bridge or died in the river afterwards, because Boromir says that there was a company there and only four survived.
  • This also means that the army left the two captains of Gondor trapped on the other side of the river, meaning that they knew this was probably a suicide mission and were given that order.
  • The battle for the bridge happened on the same day that the Witch-king took the field in 1,000 years, and for 3,000 years in Gondor.
  • This tells us a lot about the character of Boromir and his brother. He leads from the front and is willing to put himself at the head of the “forlorn hope” of the army, regardless of the risk.
  • Boromir is not only willing to sacrifice himself, but his brother is probably there against Boromir’s wishes, as this displays his courage, loyalty, stubbornness, and lack of prudence.
  • It goes against political necessity for both of these brothers to take on a suicide mission, and it would not be seen as cowardice to ensure the continuation of the line of the Stewards.
  • Both of the brothers consider the defense of the city and the safety of their people more than preserving their family line, though we don’t know how many siblings he has.
  • Boromir is probably showing modesty when he says that he was “in the company” and not leading it, though his position will be revealed soon.
  • Note: All of the members of the younger generation of the leading houses are unmarried and childless, which is imprudent, especially in time of war. They are all well above the age where marriage and the begetting of heirs would be expected by this time. Aragorn is a special case, as his marriage is contingent on saving the world from Sauron; if he fails, then it doesn’t matter.
  • The only difference shown between the two brothers is the frequency of the dream coming to them. The brother is shown to be a dreamer and given to prophecy in a way that Boromir is not.
  • Why doesn’t Boromir name his brother? Perhaps he thinks the name would only be relevant to those who know both of them, and he might assume that everyone knows about them.
  • Note: Tolkien had not invented the character of Faramir when he originally wrote this scene, and he would not do so until well into the writing of the material about Frodo and Sam in Ithilien. Faramir appears because only someone in his position would have the leeway to let Frodo go, despite his orders. He appears as the dialogue developed, as is common in Tolkien.
  • Despite these differences in mood, Boromir’s brother is clearly also physically brave and capable, as shown in the battle at the bridge in Osgiliath, which would have been difficult.
  • Note: In earlier versions of the Council, the dream came originally to the lord of Minas Tirith and then to many other citizens before coming to Boromir at last, which is a humbler version. Once the character of Faramir was invented, the dream was given to him, and then this reference to Boromir’s brother in the Council added in revision. This means that the fact that the dream was not primarily for Boromir was there from the beginning, though. This makes it unclear why Boromir would be at the Council instead of his brother, and that question is not answered here.
Of these words we could understand little:
  • Boromir’s “only” when describing what Denethor said, which is also significant. This could mean that Denethor didn’t know more than this, though it implies that he knew more than he said.
  • He could be using a euphemism, but it doesn’t seem likely that he would reveal any complaint about Denethor’s withholding information in front of the Council, especially at this register.
  • Therefore, he may be attempting to use a polite turn of phrase to hide the fact that this was all that Denethor knew, without revealing the limits of his lore. This is a diplomatic indirection.
  • Boromir does say that Denethor is wise in the lore of Gondor specifically, and this is not Gondor.
  • Since he started this speech out by being nettled at Elrond description of the waning of lore in Gondor, he can’t now openly admit their limitations, and he parallels Denethor with Elrond.
  • This also adds up to a compliment for Elrond, the host, as the greatest of all lore-masters.
  • Boromir also implies that if Denethor did know more, he thought it wise not to reveal it.
  • Note: There are biblical parallels to the dreams of pharaoh in Genesis, interpreted by Joseph, and those of Nebuchadnezzar’s dreams, interpreted in the book of Daniel.
  • Given that Denethor is wise in the lore of Gondor, it seems likely that he would have a shrewd guess as to the meaning of the Sword that was broken, so he is likely telling less than he knows.
  • Denethor would know that the Sword was preserved after its breaking in Mordor, but not its later fate. He may not know about the remaining line of kings surviving in the North.
  • Would Denethor know about the Ring, or what “Isildur’s Bane” is? It’s possible that he could.
  • Note: This Denethor being described is somewhat different from the one we meet in The Return of the King, though not entirely. The later version has lost his beloved heir and the battle of wills with Sauron, but this one is still wily and unwilling to share information that others don’t need.
  • In the context of a prophetic dream, it would seem that the sword stands in for the surviving line of Isildur, and if he guessed that, Denethor would not want to share that information.
(continued below)
 

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(continued)

A way full of doubt and danger:
  • Boromir’s brother feels that the dream was a summons to him, as it is stated in the imperative mood, and they are both fully aware of the desperation of their situation.
  • It was on the eve of the battle at the bridge that the dream first came, which is significant.
  • The brother shows faith that the dream is a real prophecy and from a benevolent source.
  • Boromir took on the journey and came because he insisted. He saw this as an act of self-sacrifice. This is consistent with his character, as he is willing to take on dangers for others.
  • There is some pride involved, as he may have thought that his brother might not make it there.
  • While it might be possible to see this as glory-hunting, there is equal, if not more, danger in leading the armies of Gondor in battle, and certainly more glory, which Boromir gives up.
  • Note: There is a similar line of reasoning that will lead Aragorn to take the Paths of the Dead.
  • Boromir, though captain-general of the armies of Gondor, took this on himself because he thought it was important enough to leave the war to go on this quest.
  • This did not seem to go smoothly in getting permission to leave, and he didn’t actually say that Denethor allowed him to go. Perhaps he did as with Elrond, asking for leave, then just doing it.
  • This seems to have forced Denethor’s hand, for if he didn’t go it wouldn’t have happened. The use of active and passive voice implies that if he did get leave, it was against better judgement.
  • It is clear that his brother thought this quest was for him, and Boromir took it from him, but he does so out of love and concern for his brother, not sibling rivalry.
  • The fact that he did this means that he takes responsibility for any consequences for himself. He doesn’t lay the accountability on his brother or father, who tried to dissuade him.
  • There seems to be a reason that Boromir leaves out the moment of decision. It seems that his brother was overruled, and his father was convinced, but he may be omitting airing the conflict.
  • The roads that he took were forgotten in the lore of Gondor, and estrangement between Elves and Men means that he didn’t have access to any outside lore, due to his provincialism.
  • The Gondorians don’t seem to travel much in general, and this seems like Boromir’s first journey outside the borders of his country, though he was known in Rohan after his visit there.
  • Note: It is likely that Boromir was given an armed escort of high ranking Rohirrim as he traveled across the country, as befit his status. He may have traveled with one or more of the Marshals.
The portentous poem:
  • The use of the capitalized “West” is significant in Boromir’s description of the dream, as is the word “lingered”. This may point to a reference to the Elves, as they linger in Middle-earth.
  • “Pale light” is often associated with evil beings in Middle-earth, but not in this poem.
  • How much does Boromir understand? He is one of the target audiences, so it seems unlikely that a prophecy would be sent as a communication to someone who doesn’t understand it.
  • In what sense is West used? He could be thinking within the continent, which might point to Rivendell, but many would think of Valinor, or Elvenhome, or even Númenor in a mythic sense.
  • Note: The capitalization of “West” could have been added by Frodo in his recording of the event, and the emphasis on the mythic West would be his and not Boromir’s.
  • The light in the West is contrasted with the stormy portents in the East, which point to the new events happening in Mordor, as opposed to in the West where things continue unchanged.
  • There is also a sense in “lingered” in which the light remains unnaturally long, longer than it might be expected. It is out of this unchanging light that the voice is coming.
  • The metaphor of a sunset is recalled, but the lingering light beyond its time usurps that metaphor. This is not the setting sun, but a light that persists even after the sun has set.
The structure of the dream poem:
  • The overall rhythm of the verse is iambic, though most lines start with an extra stressed syllable.
  • Note: Many of Tolkien’s poem are very regular in rhythm, which gives them an incantatory quality, though it is more usual for there to be variation in English poetry. A clever poet can convey meaning in the use of rhythm and in the consistency and variations with that rhythm.
  • Each line is basically using a trimester structure, and the even numbered lines are indented.
  • The use of one tetrameter line followed by a trimester line to form a heptameter phrase is common in the Elvish poetry, but the first lines of this poem are not true iambic tetrameter.
  • The odd lines are also trimester, but use a triplet feel so that multiple syllables fall in one beat. Each of those lines end with two-syllable trochaic words, as part of two trochaic feet.
  • Note: The poetic pronunciation of many Elvish words is often different from the normal rules. Perhaps the change in stress reflects a difference in pronunciation between Elves and Men.
  • Line seven starts unstressed, which is different from all the other odd numbered lines, and the first beat acts as grace note. This seems to be on purpose to draw attention to it.
  • There is also an extra syllable in the first line, but it also holds to the opening stressed syllable.
  • Line four is the only offset line that starts with a stressed syllable and is one syllable shorter.
  • This seems to be an original rhythmic construction of Tolkien’s, combining iambic and trochaic feet in the odd lines, and iambic, though sometimes with extra beats, on the even ones.
  • Line four breaks the pattern as he ends the first sentence, which takes up the first quatrain. It is also directly between lines three and five, which are near repetitions.
  • This breaks up the eight lines of the poem into three parts: the first two lines, establishing the rhythm and giving the imperative, and the next two pairs of three that deviate and then return.
  • The first and last couplets stand apart as the only two perfect pairings, and with extra syllables.
  • The first couplet is an imperative, and the last is the reason for the imperative. The middle four are in the indicative mood, explaining what will happen, and are in the passive voice.
  • Note: The Ring verse also has shifting rhythmic structure, but that is both different and simpler.
END OF SESSION
 

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