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Tolkien's female characters
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J.R.R. Tolkien Research Paper
As many have grown up during this generation, they have been dazzled by the work of J.R.R. Tolkien as well as the artistic interpretation of this trilogy through Peter Jackson. This movement started when Tolkien created The Hobbit and then later the Lord of the Rings trilogy in the 1930’s, 1940’s and 1950’s.However, there are those who have criticized both the books and the cinema for being sexist and/or racist. Tolkien is not a sexist because he develops his female characters by revealing their individualism and dynamic features, and is also not a racist because much of the criticism comes from Peter Jackson’s interpretations and because racism is harshly looked upon more in this generation than it was back in the 1940’s.
For one, Tolkien is not a sexist because he illustrates his female characters as growing individualists. Three of the most prominent of these female characters are Eowyn, Galadriel, and Arwen from the Lord of the Rings trilogy. Once Eowyn is knocked on her back from the rejection of Aragorn, she “must search for healing” (Enright 93). Because Eowyn is forced away from a companionship, she must learn to become an individual in order to be successful. The power of leadership is a motif throughout the stories of the Lord of the Rings and “Galadriel is a stronger embodiment of this power than her husband Celeborn” (Enright 93). In this time period, this is looked upon as a rarity, but back in the time period where Tolkien wrote it, it must have been an absolute outrage that a female character could be more dominant than the male king of a society since women did not have much power or choice. With the third character, Arwen, she is able to overcome the separation between herself and...
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...dualistic and develops them fully in his books, and he is not a racist because he did not create the movies that are also being harshly criticized and the racism that we think of today is more harshly looked upon in this generation than that of Tolkien’s. As David Ibata said himself, “I believe the issue is not wheter Tolkien or Jackson intended to offend….they did not”.
Works Cited
Enright, Nancy. “Tolkien’s females and the defining power.” Renascence: Essays on values in Literature 59.2 (2007) : 93. Literature Resources from Gale Web. 24 Feb. 2010.
Hatcher, Melissa. McCrory. “Mythlore.” Literature Resource Center. Spring –Summer 2007. Pg. 43. Print.
Ibata, David. “Lord of Racism.” Chicago Tribune. Jan. 12, 2003, arts and entertainment: 11. Print.
Tolkien, J.R.R. Lord of the Rings: The Two Towers. New York, New York: Houghton Mifflin Company, 1954. Print.
The paper will begin with a look at the life of Tolkien. This will serve the purpose of providing some context for the novel. Looking into the life of Tolkien will also serve to give the reader some insight into the mind that gave birth to such a rich land and why the novel may have some importance for sufferers of mental illness. Next will likely be a short summation of the
Tolkien, J. R. R., and Douglas A. Anderson. The Lord of the Rings. Boston: Houghton Mifflin,
To the Anglo-Saxon’s, women did not serve as incredibly prominent figures. In a society where war was consistent in everyday life, the ability to fight, being powerful, and ultimately being warriors were treasured. Men were physically stronger and therefore were immediately given the roles of warriors and had higher expectations. Anglo-Saxon women were not considered warriors and especially not expected to fight. Women were then given “less significant” roles in society. Although women were exempt from the higher prized roles, they still managed to attain a certain propriety. The epic Beowulf has three women who play roles that vary yet, are symbolic for the culture. These women are Hildeburh, Wealtheow, and Grendel’s mother and they represent three varying roles that Anglo-Saxon women play: the peacemaker, the hostess, and the monster. (Mention last lady, Aethelflaed, somewhere in the intro)
Context and Tradition: Published in 1954, The Fellowship of the Ring by J.R.R. Tolkien is a work of fiction written during the modern literary period. Historically, many things were going on during the time it was published, such as the Korean War, beginning in 1950. Other notable events during this decade include the beginning of the civil rights movement in 1954, when segregation was ruled illegal in the United States, and the beginning of the Space Age with the launch of Sputnik I by the Russians in 1957. An artistic work that The Fellowship of the Ring reminds me of is The Game of Thrones, a high fantasy novel by George R.R. Martin. Both worlds are filled with magical creatures, and concern themselves with an alternate world heavily reliant on magic, as both universes do not have access to the technology available in the real world.
J.R.R. Tolkien can be considered the founding father of the genre fantasy. Most of Tolkien’s texts revolve around the same themes. An author will often write about important messages that pertain to society as a whole. His texts often have hidden messages that relate to his themes. In the fantasy novel The Hobbit and novella “Farmer Giles of Ham”, J.R.R. Tolkien demonstrates that possession ears to overconfidence, greed and selfishness.
It is often misread that women in Beowulf are presented as compliant to men, displaying them as the weaker gender of the human species. In the world of Beowulf, women serve as peace-weavers, cup-bearers, gift-givers and even monsters, all of which at first glance appear as inferior roles. Many examiners of Beowulf, who have touched on the role of women, have criticized on the words of Gillian R. Overing who believes they are "marginal, excluded figures." Although the women in Beowulf aren't as prominent as men are, they are not "excluded" from the picture as a whole. In fact, the roles these six women presented in Beowulf have, can be compared to real Anglo-Saxon women who held together nations, bring heirs and future generations into the world, all qualities that are necessary for the Anglo-Saxons to continue to strive. Wealhtheow and Hygd play the role of cup-bearer along with the political stance of queen allowing them to have equality among men. Freawaru and Hildeburh are what Anglo-Saxons consider peace-weavers which mend together nations if handled the right way. Then there are Grendel's mother and Modthryth who are described as monsters due to their aggressiveness as women, which is sought to be an unnatural trait that only males should hold. Lastly we have the few unnamed women that play roles similar or equal to the ones mentioned above but with little coverage or knowledge from the author for them to have no name. This essay will go further into the world of women in Beowulf and how their roles play in not only the poem, but also in Anglo-Saxon culture using Seamus Heaney’s translation.
Tolkien, J.R.R. The Lord of the Rings: Part One The Fellowship of the Ring. Boston: Houghton Mifflin, 1954.
The women characters in Beowulf show that during the time period in which this was written, the roles of women were clearly defined. While, the author's views on women may never be fully revealed, it is made apparent that he believes in male superiority, and disobedient females ought to be suppressed. Like Wealhtheow, females were to exert minimal power and influence, but should always keep the drinks coming.
J.R.R Tolkien’s The Lord of the Rings is a peerless fantasy of epic proportions. While eschewing allegory in favor of an historical perspective, Tolkien has imprinted the work with many of his own closely held Catholic beliefs. In a lecture concerning Tolkien’s writing given to students at Villanova University, Dr. Tomas W. Smith put it this way
Anderson, Rearick III. “Why is the Only Good Orc a Dead Orc? The Dark Face of Racism Examined in Tolkien's World.” Modern Fiction Studies. 50.4 (2004): 861-874. Platinum Periodicals, ProQuest. Web.
Thompson, Kristin. The Frodo franchise: The Lord of the rings and modern Hollywood. Berkeley: University of California P, 2007.
Overing, Gillian R. “The Women of Beowulf; A context for Interpretation.” In The Beowulf Reader, edited by Peter S. Baker. New York: Garland Publishing, 2000.
The Lord of the Rings: The Fellowship of the Ring is a 2001 epic fantasy film directed by Peter Jackson. The film is an adaptation of a volume of the same name by J.R.R. Tolkien published in 1954. This is the first film of Peter Jackson’s trilogy that adapted J.R.R. Tolkien’s entire Lord of the Rings series into screenplay.
In the novel, The Hobbit, we find many themes and underlying messages from which useful knowledge and principles can be acquired. As the modern canadian fantasy writer once said, “Fantasy has the capacity to be as important and as thought-provoking as any other form of literature we have.” Tolkien’s work provides readers with challenging and time honoured themes such as: use your unique positive traits for the greater good of the group, power should never be abused and it is important to find your true self in life.
My most memorable moment from the Hobbit is when Bilbo can not say “No”. I really love this moment because when somebody has the option to say “No”, they sometimes can not. I watched this movie called 27 dresses. There is a scene teaching the girl how to say “No”. You see the girl has to plan her sister’s entire wedding for her, the problem is she is extremely busy. This guy gets to know the girl and decided to teach her how to say “No”. So the boy asks her for money and she says “No”. Then the boy flatters her and she says “No?”. Then she thinks the session is over and then the guy asks for her drink. She says “ Yea sure… NO!” The boy laughs at her and says she was doing so good. The same thing with Bilbo, the dwarves annoy him a lot throughout the book but, he never asks them to go away. He never says “No”. In hobbit nature that is a very good thing. In Took nature that is terrible. The book mainly taught Bilbo how to get his inner Took out. He eventually does