On Word-Magic, invocations, and "Elbereth and Luthièn the Fair"

dhmontgomery

New Member
Hello all! Like many recent posts here, I'm working my way through the backlog, and am currently on Session 93, covering the confrontation between Frodo and the Nazgûl at the Ford of Bruinen. In this episode and the one prior, there was considerable discussion of Frodo's dialogue defying the Ringwraiths:

With a great effort Frodo sat upright and brandished his sword. ‘Go back!’ he cried. ‘Go back to the Land of Mordor, and follow me no more!’ His voice sounded thin and shrill in his own ears. The Riders halted, but Frodo had not the power of Bombadil. His enemies laughed at him with a harsh and chilling laughter. ‘Come back! Come back!’ they called. ‘To Mordor we will take you!’

‘Go back!’ he whispered.

‘The Ring! The Ring!’ they cried with deadly voices; and immediately their leader urged his horse forward into the water, followed closely by two others. ‘By Elbereth and Lúthien the Fair,’ said Frodo with a last effort, lifting up his sword, ‘you shall have neither the Ring nor me!’

In particular, there was a lot of talk about whether "By Elbereth and Lúthien the Fair" was an oath, whether it was an invocation to these figures for protection (like a Catholic saint), or something else.

Though I won't likely hear any live discussion of this point for months or years, given my current position in the rewatch and the entire Council of Elrond looming ahead, I wanted to offer a different perspective now, both because it's fresh in my mind, and also because I think this insight could be helpful in interpreting future events in the book. (Unless someone else has already mentioned these insights in the years since this live discussion!)

What follows is drawing heavily on Agnieszka Tańczuk's article “The Language of Magic in J.R.R. Tolkien’s Works” from Arda Philology 3, as well as other works and my own reading.

Though magic in Tolkien is often depicted as the softest of "soft magic," his use of what I call Word-Magic seems like it follows some pretty clear, if entirely unstated, rules. The basic form is that someone makes a statement and, exerting their will and power, causes that statement to be true. For example, "Your staff is broken," and it was. Corey mentioned that example in particular in relation to this confrontation at the Ford, though he focused on the difference in tense between that present-tense declaration and Frodo's declaration about the future.

But there are other formulaic elements that seem important as well, in Tolkien's use of Word-Magic:
  1. An assertion of reality that the speaker would make true
  2. Imperative commands to make someone else obey
  3. Invocation of the speaker's power and station
  4. Denigrations of the power and station of the speaker's opponent
I've color-coded these to easily highlight them in a few illustrative passages.

Not all of these appear every time someone uses Word-Magic in Tolkien, but we pretty consistently see several of them pop up — the speaker has to have the thing they want to make true, and they have to establish their power to make that thing happen.

The most classic example is Gandalf at the Bridge of Khazad-dûm:

You cannot pass,” he said. The orcs stood still, and a dead silence fell. “I am a servant of the Secret Fire, wielder of the flame of Anor. You cannot pass. The dark fire will not avail you, flame of Udûn. Go back to the Shadow! You cannot pass.”

Here we see Gandalf make a statement of reality (repeated a potent three times for good measure) — and of course the Balrog does not pass. Gandalf was not simply talking tough, he was working magic. Of course, the Balrog was a being of power, a Maia like Gandalf, so to prevent the Balrog from passing Gandalf invokes his own power (that he is a "servant of the Secret Fire" and "wielder of the flame of Anor") and denigrates the Balrog's own power (his "dark fire" will "not avail" him). This invocation seems crucially important to the success of what Gandalf is trying to do — he is not simply invoking his own power, but is drawing on the support of a mystical and divine power greater even than him.

I think that's the pattern we should read into Frodo's declaration at the Ford:

With a great effort Frodo sat upright and brandished his sword. ‘Go back!’ he cried. ‘Go back to the Land of Mordor, and follow me no more!’ His voice sounded thin and shrill in his own ears. The Riders halted, but Frodo had not the power of Bombadil. His enemies laughed at him with a harsh and chilling laughter. ‘Come back! Come back!’ they called. ‘To Mordor we will take you!

Go back!’ he whispered.

‘The Ring! The Ring!’ they cried with deadly voices; and immediately their leader urged his horse forward into the water, followed closely by two others. ‘By Elbereth and Lúthien the Fair,’ said Frodo with a last effort, lifting up his sword, ‘you shall have neither the Ring nor me!

Frodo first attempts to defy the the Riders with a simple command — but of course he is not a being of great power; he "had not the power of Bombadil." They do halt, but only for a moment, then surge forward. Frodo then tries a second time, but this time he invokes a greater power to bolster his commands — Elbereth and Lúthien. And it works! The Nazgûl do not acquire either the Ring or Frodo! The fact that this is made true by an apparently unrelated outside force is entirely typical for Tolkien — in Return of the King, we have another confrontation where someone attempts to stop a Nazgûl from crossing a threshold; Gandalf tells the Witch-king "You cannot enter here" at the gates of Minas Tirith, and indeed he does not, called away by the sudden horns of the arriving Rohirrim.

But Frodo is no wizard. Why would he know the proper forms for working Word-Magic that is largely beyond his meager power, anyway? Well, it's possible this is the sort of thing an educated hobbit like Frodo would have picked up from reading classic stories — the sort of way the Heroes of Old are always talking in the face of great peril, even if he doesn't understand the significance behind the forms.

I'm not sure this guess is necessary, though, because Frodo has a direct example of how Word-Magic works, an example name-checked in this exact passage: Tom Bombadil. (Indeed, while the Bombadil chapters are a strange interlude in a lot of ways, one thing they do do is provide us with an excellent tutorial in how Word-Magic works in Tolkien, ahead of a number of much more subtle uses.)

'You let them out again, Old Man Willow!’ he said. ‘What be you a-thinking of ? You should not be waking. Eat earth! Dig deep! Drink water! Go to sleep! Bombadil is talking!'

The only power Tom Bombadil invokes here is his own, but of course Tom does not need an outside boost, not against the likes of Old Man Willow, anyway. Against the Barrow-wights, Tom exerts a little more effort:

Old Tom Bombadil is a merry fellow,
Bright blue his jacket is, and his boots are yellow.
None has ever caught him yet, for Tom, he is the master:
His songs are stronger songs, and his feet are faster.

...
Get out, you old Wight! Vanish in the sunlight!
Shrivel like the cold mist, like the winds go wailing,
Out into the barren lands far beyond the mountains!
Come never here again! Leave your barrow empty!

Lost and forgotten be, darker than the darkness,
Where gates stand for ever shut, till the world is mended.

I could cite other examples, but I've gone on long enough, especially if this post is going to end up excerpted on a slide! In short, I think the way Word-Magic works in Tolkien involves invoking either one's own power or an outside force to bolster the force of one's words. We can see that clearly in Frodo's defiance at the Ford of Bruinen, in Gandalf's stand at the Bridge of Khazad-dûm, and lots of other examples throughout the books.

I look forward to finding out if this got discussed in a year or two!
 
What does she say about Belegs whetting spell?

By "she" do you mean Agnieszka Tańczuk? In her article, Beleg is not mentioned, though she gives examples of Lúthien's weaving spell from The History of Middle Earth and the song-battle between Finrod and Sauron (both of which, like Beleg's whetting spell, we have the singing described but do not get the verbatim words), as well as Lúthien's spell to subdue Carcharoth, where she commands it, "O woe-begotten spirit, fall now into dark oblivion, and forget for a while the dreadful doom of life," which fits the pattern.
 
I found it interesting that it was basically sung analogy-magic...


There wondrous wove he words of sharpness,
and the names of knives and Gnomish blades
he uttered o'er it: even Ogbar's spear
and the glaive of Gaurin whose gleaming stroke
did rive the rocks of Rodrim's hall;
the sword of Saithnar, and the silver blades
of the enchanted children of chains forged
in their deep dungeon; the dirk of Nargil,
the knife of the North in Nogrod smithied;
the sweeping sickle of the slashing tempest,
the lambent lightning's leaping falchion
even Celeg Aithorn that shall cleave the world.
Then whistling whirled he the whetted sword-blade
and three times three it threshed the gloom,
till flame was kindled flickering strangely
like licking firelight in the lamp's glimmer
blue and baleful at the blade's edges.
 
Hi dhmontgomery,

Excellent thoughts on how magic works in Tolkien's world. I would add a bit. Song is another particularly important element in magic.

I think the tale of Beren and Luthien makes it pretty clear that 'magic' in Arda, is made up of will and words and song.

"But Luthien heard his answering voice, and she sang then a song of greater power. The wolves howled, and the island trembled."

Luthien commanded Carcharoth to sleep before the gates of Angbad, "O woe-begotten spirit, fall now into dark oblivion, and forget for a while the dreadful doom of life."

When coming to the seat of Morgoth, "Luthien was stripped of her disguise by the will of Morgoth."

"Then Luthien catching up her winged robe sprang into the air, and her voice
(singing) came dropping down like rain into pools, profound and dark. She cast her cloak before his eyes, and set upon him a dream, dark as the Outer Void where once he walked alone. Suddenly he fell, as a hill sliding in an avalanche, and hurled like thunder from his throne lay prone upon the floors of hell. The iron crown rolled echoing from his head. All things were still."

That's how Sauron put the 'magic' into the One Ring. His Will. His Words,"Ash nazg durbatuluk, ash nazg gimbatul, ash nazg thrakatuluk, agh burzum ishi krimpatul". His Song, "Three rings for Elven-kings under the sky..."

In the examples you give, Frodo's attempt at using the magic of will and words against the Black-Riders would probably have been more powerful if he had added song (not sure how much more powerful?). Tom Bombadil almost always uses song to power his magical effects (as does Goldberry when singing down the rain for her 'washing day').

There you have it. Will, and words, and song. That's what 'magic' is made of in Arda.
 
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Thanks Flammifer!

Yes, the role of song is important and I should have mentioned it. Though I'd argue song is one of several factors that can make Word-Magic more powerful in Tolkien. Repetition, especially in threes, seems to add extra oomph to a spell. So does singing. (Though Sauron's lines over the One Ring were the "One Ring to rule them all, One Ring to bind them" part of the verse, no? And was he actually singing them, or reciting them? I recall Corey at one point commenting about how the modern distinction between singing and spoken verse was not so clear-cut in the past.)

In general, it's not just about saying some words and willing them true — you have to use the right words. So while Gandalf was infamously off-base trying to use "every spell in the tongues of Elves and Men" to open the Moria Gate, the examples we get of the "spells" he tries give another sense of how this works, and of the importance of finding the exact right words. (A demand heightened in this particular case by the specific spells worked into the Gate, of course.)

Annon edhellen, edro hi ammen! simply means "Elvish gate open now for us!," while Fennas nogothrim, lasto beth lammen! means "Doorway of the Dwarf-folk listen to the word of my tongue!" Both are expressing the same sentiment, but if the Gate had worked like Gandalf thought, the precise nature of the words used would have been necessary to break the spell.
 
Yes, using the right words might be important sometimes (as in the Moria gate), but this is not totally clear.

When Luthien puts Carcharoth to sleep saying, "O woe-begotten spirit, fall now into dark oblivion, and forget for a while the dreadful doom of life," did she have to say those exact words for the spell to work? I doubt it. For sure, those are powerful and poetic words, and poorer phrasing might not have done so well. But, I think there are many constructions that would have worked for Luthien.

When Luthien, "sang then a song of greater power," what made her song of 'greater power'? Was her Will of greater power? Was her song more powerful musicallly? Were the Lyrics more powerful words? Was it some combination of the above? What exactly puts 'power' into a spell is not clear.

And, it seems, that sometimes Will alone is enough without any Words or Song. "Luthien was stripped of her disguise by the will of Morgoth." He said not a word nor sung a note.

We might guess that the combination of the right Will, Words, and Song provides the strongest spells (could anything less cause Morgoth to fall, "as a hill sliding in an avalanche, hurled like thunder from his throne"?), but I don't think we know for sure.
 
I think we're mostly in agreement here.

I'm totally in the realm of conjecture here, but my gut says telling Carcharoth "O woe-begotten spirit, fall now into dark oblivion, and forget for a while the dreadful doom of life" was certainly more magically effective than if she'd said, "Go to sleep, you dumb wolf." But yes, in the more common cases where you're not trying to get a password, I'm not so much arguing that there is a precise correct verbiage necessary for the spell to work, rather that certain words are more magically efficacious.

Your example of Morgoth, my earlier example of how Tom Bombadil needed less verbal effort to boss around Old Man Willow than he did with the Barrow-wights, and various examples of Saruman or the Nazgûl interacting with ordinary mortals all suggest that there's a big power differential between the magic-user and their target, they don't need to use all these various power-boosting techniques (singing, rhyming, using the proper language, invoking sources of power) to impose their will.

Luthièn seems to have needed to sing in order to enchant Morgoth; he needed no such aid to dispel her disguise.
 
The moria door was a special case because it was supposed to be bound to a specific command, the elements of will and analogy i find far more interesting. However Luthie for example dies not usevanalogy, but her very own powers.... so does Sauron, he only encraves them into words and object.
 
Will, and words, and song. That's what 'magic' is made of in Arda.
That's what bothers me about the magic system in Harry Potter: Will is almost entirely missing. You have to aim a spell by pointing your wand; the will to "hit the target" doesn't seem to matter at all. (As far as I can recall, there is no example of a Wizard casting a spell on anything that's out of sight.) The only counter-example I can think of is Crucio, where "you have to really mean it".

Oh, and the words are really silly, too.
 
In our world traditional magic is almost always bound to spirits.Even if it is just unintellegibke words a spirit is almost always at last silently implied somewhere in the background.
 
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