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Seminararbeit
Englisch

Karl-Franzens-Universität Graz - KFU

2, Kraus, 2017

Robert D. ©
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ID# 72248







TERM PAPER

Arwen, Galadriel and Éowyn: Women in The Lord of the Rings“

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Table of Contents

1.Introduction 3

2.Context and Theory 4

3.Analysis 6

3.1Analysis of the description of women´s physical appearance in The Lord of the Rings 6

3.2Romantic relationships in The Lord of the Rings 9

3.3The depiction of women´s power in The Lord of the Rings 10

4.Conclusion 13

Bibliography 15

Primary Sources 15

Secondary Sources 15

  1. Introduction


This paper will investigate the role of women, primarily focusing on the roles of Arwen, Galadriel and Éowyn, in J.R.R. Tolkien´s The Lord of the Rings.

I chose to investigate the role of women in The Lord of the Rings, because one has to acknowledge that the plot is dominated by male and therefore scarcely deals with female characters. In addition, little research has been conducted when dealing with women in this particular novel, which strongly suggests its necessity. Dealing with the novel´s female characters on the one hand provides insight into the society of Middle-earth and simultaneously the position of women within the 20th century society Tolkien lived in, as well as the medieval society, which serves as a model for Middle-earth.

The aim of this paper is to illustrate the roles of women in The Lord of the Rings, by analysing the novel through a feminist lens, taking into consideration that J.R.R Tolkien incorporated several medieval elements that will also contribute to the overall analysis.

In my paper I will illustrate the differences and similarities of Arwen, Galadriel and Éowyn, by investigating the description of their physical appearance, the depiction of their romantic relationships and women´s illustration of power, linking the observed passages to their medieval role models which J.R.R. Tolkien was inspired by. Before preceding to the analysis, I will illustrate which medieval elements can be found in The Lord of the Rings and explain the approach applied to the analysis of the text.

  1. Context and Theory


As the paper is analysing the depiction of female characters within J.R.R Tolkien´s The Lord of the Rings it is of particular importance to not only provide some context concerning its production and reception but to also illustrate the approach used to interpret particular extracts of the text and simultaneously clarifying certain terminology, used in the course of the paper.

Witnessing two World Wars has largely influenced Tolkien and his writing. Especially in The Lord of the Rings many elements can be observed that suggest allusions to Tolkien´s personal experiences. To begin with, war is one of the central themes in The Lord of the Rings, as the Dark Lord Sauron is fighting a war against the free people of Middle-earth to “rule them all” (Tolkien 2004: 66).

The war raging in the novel can be compared to the Second World War, as Germany also aimed at conquering Europe. In this context, Sauron is likely to be associated with Hitler, as both are dictators who start a war. What is different in the novel from the actual Second World War is that The Lord of the Rings is set in a fictional, medieval setting, featuring fabulous creatures and an entirely fabricated world.

Having now mentioned the term ´medieval´, this idea needs further elaboration and a clear definition. ´Medievalism´is often mistaken for being the depiction of actual historical events and historical personalities, implying that these really existed. However, the correct definition of ´medievalism´, according to The Cambridge Companion to Medievalism would be that “Medievalism is the reception, interpretation of recreation of the European Middle Ages in post-medieval cultures.” (D´Arcens 2016: 1) In addition on can say that ´medievalism´ can be seen as a social construct, as it is constructed by the members of society, therefore not having a fixed overall definition, but rather a definition depending on the socio-cultural circumstances of a society.

Looking at the setting of The Lord of the Rings one has to acknowledge that Middle-earth is Tolkien´s interpretation of the European Middle Ages, as Tolkien was rather a medievalist than a historian. Dealing with war in this medieval setting suggests that Tolkien opposes modern machinery and warfare, as the story is set in an environment without advanced technology, electricity or modern means of transportation.

Patrick Curry even states that “Tolkien was horrified by the modern desecration of mankind and natur, along with the religious values that he saw as their last protection from that ´idolatry of artefacts´ ”. (Curry 2004: 110)

Another aspect of Tolkien´s medievalism is social class. Similarly to narratives, written in the Middle Ages, the majority of the characters belongs to a high social class, which was rather common back then. Additionally, in the first part, called The Fellowship of the Ring, the nine fellows go on a quest for destroying the ring and therefore defeating Sauron and his forces.

This idea of going on a quest in The Lord of the Rings can clearly be compared to actual medieval narratives, as most narratives written in the Middle Ages deal with a male protagonist belonging to a high social class, going on a quest to prove their chivalry, save a maiden´s virtue or being disabused.

In addition to the before-mentioned aspect, another feature of Tolkien´s medievalism worth mentioning, which is the most important one within this paper, is the depiction of women. The role of women in The Lord of the Rings is quite similar to the role of women in the Middle Ages. Most women in the novel belong to a high social class and are not considered to participate in wars, but are responsible for running a household, dealing with domestic matters and protecting the throne.

Opposed to medieval women however, female characters such as Arwen, Galadriel and Éowyn do not entirely depend on the male figures in their lives, but rather have a will on their own. As Arwen, Galadriel and Éowyn clearly deviate from the prototypical woman of Middle-earth in some respect, a feminist literary criticism is being applied, when interpreting their roles within the novel.

According to Peter Barry, “the feminist literary criticism of today is the direct product of ´the women´s movement´ of the 1960s.” (Barry 1995: 121) Barry then proceeds adding that

the representation of women in literature, then, was felt to be one of the most important forms of ´socialisation´, since it provided the role models which indicated to women, and men, what constituted acceptable forms of the ´feminine´ and legitimate feminine goals and aspirations. Feminists pointed out, for example, that in nineteenth-century fiction very few women work for a living, unless they are driven to it by dire necessity. (Barry. Beginning Theory: 122)


  1. Analysis


    1. Analysis of the description of women´s physical appearance in The Lord of the Rings


In this chapter I will analyse the language Tolkien uses when describing the physical appearances of Arwen, Galadriel and Éowyn. Analysing the language used, one can observe, whether women are portrayed in a very traditional way, resembling the description of women in actual medieval texts or deviate from fixed norms, medieval women are commonly associated with, such as remaining in the domestic realm or their need of being protected, due to their physical weakness, when facing a fight.

The analysis of these three characters will show their similarities and differences.

Frodo first encounters Arwen at the feast which precedes the Council of Elrond, while recovering in Rivendell from having been severely wounded by the Black Riders:

In the middle of the table, against the woven cloths upon the wall, there was a chair under a canopy, and there sat a lady fair to look upon, and so like was she in form of womanhood to Elrond that Frodo guessed that she was one of his close kindred. Young, she was and yet not so. The braids of her dark hair were touched by no frost; her white arms and clear face were flawless and smooth, and the light of stars was in her bright eyes, grey as a cloudless night; yet queenly she looked, and thought and knowledge were in her glance, as of one who has known many things that the years bring.

Above her brow her head was covered with a cap of silver lace netted with small gems, glittering white; but of her soft grey raiment had no ornament save a girdle of leaves wrought in silver. So it was that Frodo saw her whom few mortals had yet seen; Arwen, daughter of Elrond, in whom it was said that the likeness of Lúthien had come on earth again; and she was called Undómiel, for she was the Evenstar of her people. (Tolkien. The Lord of the Rings: 295-296)

To begin with the analysis of Arwen´s description, one can investigate that she is spatially separated from the other folks by sitting on a chair under a canopy. This does not only foreground Arwen from the rest of the feast, but also underlines her being from an even higher class than the others. This impression of Arwen being superior to some extent is even more emphasised by the jewellery Arwen is wearing.

The most prominent feature of Arwen that can be observed in this passage is her immortality. Although it is not overtly stated that Arwen is immortal, her features, such as her flawless skin, the dark hair not touched by frost and her seeming young but simultaneously conveying knowledge “that the years bring” (Tolkien 2004: 296) clearly indicate that she is. Another aspect that defines Arwen in this passage is her comparison to Lúthien, who, according to The Complete Tolkien Companion, “is remembered as the most beautiful maiden ever to walk the earth; and she was the most beloved of all her Kindred.” (Tyler 2012: 389) This does not only stress Arwen´s beauty but simultaneously implies her being immortal again, because by referring to Lúthien, Tolkien already implies that Arwen is immortal as well.

However, this comparison can also be interpreted as foreshadowing Arwen´s fate, which is similar to what happened to Lúthien. Both characters decide to relinquish their immortality and choose a mortal life, because of their love to men.

Similarly to Arwen, Galadriel also belongs to the Elves, which means that she is immortal as well. Galadriel can be considered the most powerful female character within the novel. The fellowship first meets Galadriel and her husband Celeborn in their house in Lothlórien:

Very tall they were, and the Lady no less tall than the Lord; and they were grave and beautiful. They were clad wholly in white; and the hair of the Lady was of deep gold, bright; but no sign of age was upon them, unless it were in the depths of their eyes; for these were keen as lances in the starlight, and yet profound, the wells of a deep memory. […] Her voice was clear and musical, but deeper than woman´s wont. (Tolkien. The Lord of the Rings: 461)


Galadriel is dressed entirely in white, which can be interpreted in two different ways. On the one hand, the whiteness of her clothes symbolises Galadriel´s innocence and pureness, as she is shielded from war in Lothlórien, which has never been entered by an enemy and wears one of the three great rings made for the Elves, which “were not made as weapons of war or conquest […] but understanding, making, and healing, to preserve all things unstained.” (Tolkien 2004: 350) On the other hand, her white clothes deviate from the other character´s clothes, which suggests that Galadriel is superior to the others.

Another aspect of that passage which is very prominent concerning the characterisation of Galadriel is that she is primarily described by traits characteristic for men, such as being tall and having a deep voice. This underlines the assumption that Galadriel is in every aspect equal to her husband if not superior, which opposes the traditional medieval role of women and is therefore foregrounded.

In addition, these male traits hint at Galadriel´s powers, which will be discussed in the following chapter. Similar to all other Elves, Galadriel is immortal, which mirrors itself in her appearance. In most of Tolkien´s descriptions, the Elves´ immortality is particularly expressed by the “depths of their eyes” (Tolkien 2004: 461), which can also be investigated in the previous passage, dealing with Arwen.

Grave and thoughtful was her glance, as she looked on the king with cool pity in her eyes. Very fair was her face, and her long hair was like a river of gold. Slender and tall she was in her white robe, girt with silver; but strong she seemed and stern as steel, a daughter of kings. Thus Aragorn for the first time in the full light of day beheld Éowyn, Lady of Rohan, and thought her fair, fair and cold, like a morning of pale spring that is not yet come to womanhood. (Tolkien. The Lord of the Rings: 672)

Similar to Galadriel, Éowyn is portrayed as a tall woman, wearing a white robe. Once more one can investigate that this robe suggests Éowyn´s innocence, as she has not directly been confronted with evil so far. In this passage not only the colour white stands for the frost that surrounds Éowyn, but also the fact Tolkien uses a simile that compares her to steel which also associated with being cold.

Additionally, the whiteness of her robe also correlates with Éowyn´s emotional state, as she is bitter about the king´s condition and also bitter about being trapped within her duties of being a court lady of Rohan and not having the possibility of being a knight of Rohan because of her gender. This resembles the position many court ladies in the Middle Ages had to face as well.

    1. Romantic relationships in The Lord of the Rings


The Lord of the Rings does not only feature themes such as war, power and heroism, but also deals with romantic relationships. Investigating the romantic relationships between the three main female characters and connecting and comparing these to prototypical medieval relationships will show to which extent the character´s relationships differ from the actual medieval role of men and women in relationships.

Galadriel´s relationship to Celeborn is depicted less romantic than Arwen´s and Eowyn´s relationships to men. Although they are referred to as Lord and Lady of the Galadhrim, Tolkien does not overtly illustrate their romantic feelings for each other. The reason for this lack in romance in their relationship lies in the superiority of Galadriel´s powers over Celeborn´s which is dealt with in more detail in the following chapter.

However, as the lack in romance derives from the woman possessing greater powers than the man, this can be considered as an intended criticism on classical gender roles that were not only promoted in the Middle Ages but in the 20th century as well.

In comparison to The Lord of the Rings one can observe a similar pattern, as Aragorn joins the Fellowship of the Ring and goes on a quest to save Middle-earth from destruction and therefore protecting his lady Arwen. The most prominent aspect of their relationship, however, is Arwen sacrificing her immortality for a mortal life out of love, which Enright defines as “a Christ-like choice of taking on mortality out of love” (Enright 2007: 97).

This, on the one hand, marks the culmination of Aragorn´s and Arwen´s relationship and simultaneously deviates from the tradition of courtly love, as sacrifice is scarcely made by women. On the other hand, Arwen´s sacrifice can be interpreted as another criticism by Tolkien of chivalric actions being primarily associated with the male. Applying this criticism to 20th century Britain, facing the Second World War, one has to acknowledge that no women were allowed to participate in fighting either, which is a chivalric action indeed.

Arwen choosing mortality in order to be with her betrothed Aragorn is clearly a chivalric act and is used to break with the conventions imposed by society.

Enright 2007: 105) Faramir and Éowyn eventually falling in love, however, illustrates that they have found their connection in being misunderstood by society. Simultaneously, the affection for Faramir disperses Éowyn´s grief and bitterness of either the loss of her king and being trapped in her courtly duties. Their relationship corresponds medieval relationships, depicted in medieval texts, as both Éowyn and Faramir belong to a high social class.

    1. The depiction of women´s power in The Lord of the Rings


Power is a central topic in The Lord of the Rings, but predominantly associated with the male rather than the female. In the novel one can observe that the war between Sauron and the rest of the free folks is a struggle of supremacy, primarily fought by men, which resembles not only the two World Wars Tolkien experienced, but also medieval battles such as the Battle of Hastings or the Battle of Halidon Hill, as these were also exclusively fought by males.

Women were not allowed to participate in these battles, though, which also applies to the world of The Lord of the Rings. However, women´s power is not solely expressed through mere physical strength, but also through certain actions. Nancy Enright argues that “female characters interact with the males in a much more complex world than might at first be assumed when reading The Lord of the Rings.” (Enright 2007: 93) She moreover states that the lack of female presence in battle scenes, except Éowyn´s, does not imply that female power is less important than the illustration of male power. (cf.

A sword rang as it was drawn. “Do what you will; but I will hinder it, if I may.” “Hinder me? Thou fool. No living man may hinder me!” Then Merry heard of all sounds in that hour the strangest. It seemed that Dernhelm laughed, and the clear voice was like the ring of steel. “But no living man am I! You look upon a woman. Éowyn I am, Éomund´s daughter. You stand between me and my lord and kin.

Begone, if you be not deathless! For living or dark undead, I will smite you, if you touch him.” […] Still she did not blench; maiden of the Rohirim, child of kings, slender but as a steel-blade, fair yet terrible. A swift stroke she dealt, skilled and deadly. The outsreched neck she clove asunder, and the hewn head fell like a stone. (Tolkien. The Lord of the Rings: 1102)

In this passage Éowyn fights the Nazgûl at the Battle of the Pelennor Fields, who aims at killing king Théoden. This illustrates her courage, as she is supposedly without a chance against the gigantic Nazgûl and its Dark Rider but still starts fighting them to defend her king. However, Enright argues that Éowyn´s victory over the Nazgûl has not necessarily changed her view on power which is still male-dominated and physically-oriented, as she was only able to join the battle by disguising herself as her alter ego Dernhelm and demonstrated her power by fighting their enemies. (cf.

Tolmie underlines my assumption by claiming that:

In many contemporary fantasy novels, much as in many medieval sagas and romances, literary heroines remain at their best when rising above external conditions that are against them in gender-based ways. They dress up as men to escape restraints on their freedom, run away from abusive fathers, escape unwanted marriages, avoid, avert or survive rape, or take up arms. (Tolmie. Medievalism and the Fantasy Heroine: 148)

While Éowyn´s power is primarily defined by her physical actions, Enright states that Arwen´s power is conveyed in a more subtle manner, but still present throughout the entire novel. According to her, it is Arwen´s power that inspires most of Aragorn´s actions from afar without having the need of being physically present. (cf. Enright 2007: 97) It is Arwen who continually sends messages and gifts to Aragorn, such as the banner.

In addition, Arwen also begs her father to reforge Narsil, Isildur´s sword, which eventually is given to Aragorn as Andúril.

Also”, said Haldir, “they bring me a message from the Lord and Lady of the Galadhrim. You are all to walk free, even the dwarf Gimli. It seems that the Lady knows who and what is each member of your Company. New messages have come from Rivendell perhaps.” […] Haldir looked at them and he seemed indeed to take the meaning of both thought and word. He smiled. “You feel the power of the Lady of the Galadhrim”, he said. (Tolkien. The Lord of the Rings: 455-457)

When stating that “the Lady knows” (Tolkien 2004: 455), Haldir already foreshadows Galadriel´s ability to foretell possible situations in the future, which Tolkien then elaborates on in the subsequent chapter, as Frodo is told to look into the Mirror of Galadriel. Having these abilities, this already suggests that Galadriel is a powerful character. Galadriel´s might is even more emphasised by Haldir directly addressing her powers by acknowledging that the hobbits “feel the power of the Lady” (Tolkien 2004: 457) which simultaneously implies that her power is almost tangible and therefore stresses the greatness of her power.


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