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Abstract

Conversationalists and critics alike continue to take delight in Tom Bombadil, yet remain perplexed by his enduring enigma. Interpretive positioning appears to be determined by the semantics of the term enigma deployed and how it intersects with any of the several textual standpoints adopted. The primary contention of this article is that the enigma is intentionally both a riddle (noun) and a riddling (verb). Reading the enigma through literary features of the Old English riddle-song can yield an alternate interpretation of Tom Bombadil that has received scant attention in critical commentary. In support of this contention, I propose to read Tom’s enigma through four stylistic features of riddlic description as elaborated by Craig Williamson: i/the descriptive stance; ii/ the mode of disguise; iii/ the poetic structure; and iv/ the kenning device. Tolkien arguably placed recognizable echoes of these stylistic features into the modernized prose of Bombadil’s episode. If recognized, these riddlic features alter the interpretive standpoint in the enigma, allowing Tom’s identity to shift shape in the mythical landscape of The Silmarillion through an intertextual game of narrative disguise and disclosure in "the intricate web of Story." The resulting mythological coherence allows for reading and encountering Tom’s enigma differently in one of the most ancient tales of Middle-earth’s making.

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