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08-07-2005, 03:49 PM | #1 |
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LotR -- Book 5 - Chapter 06 - The Battle of Pelennor Fields
This chapter picks up the narrative where Chapter 4 ended - with the Nazgûl King at the Gate of Minas Tirith. Though things are not going as he planned, he is not defeated yet.
The narrator describes the battle scene, following Théoden, and only after he falls do we get Merry's point of view again. Dernhelm is revealed and Éowyn's bravery sparks Merry's courage so that, between the two of them, they accomplish the seemingly impossible task. This scene provides us with some of the most famous lines of the story - and sheer endless debates on the prophecy concerning the Witch King's death and the part the two and their weapons had to play in it. I was struck by Éowyn's fearlessness in rereading this chapter. Do you think this results from her upbringing and Rohirric tradition, or is it because of her hopelessness, which is greater than any fear? How does Théoden's death scene with his words to Merry affect you? Merry asks the question about Gandalf's whereabouts for the readers; it will be answered in the next chapter. What do you suppose Éomer thought when he saw his sister on the battlefield instead of safe at home, where he must have assumed she was? He asks if it is madness or devilry, so he obviously didn't know of her presence with the troops. Does his fey mood help or hinder the battle? A bit later, we read, "his fury had betrayed him". Isn't it unusual that Snowmane, a horse that has such a terrible role in the death of its master, is buried with a gravestone that even has a poem on it? Do you remember your first reading of the book - did you think Éowyn was dead, as did Merry and the Rohirrim? Prince Imrahil, a favourite minor character of many, plays a small but important part here. The battle continues, and things worsen for the allies, seeming to get even worse with the arrival of the Corsair ships. Even the wind that had seemed friendly to them now seems to have brought more hosts of enemies. Then comes Arwen's finest hour! The banner she made for Aragorn turns their hearts to hope and the tides of the battle to victory. Hard fighting and high losses finish off the chapter, with a glimpse of a future song by a Rohirric poet. Let's discuss the poetry in this chapter as well as the events - there are several short poems in addition to the longer one at the end. Though relatively short in length, the chapter is packed full and gives us much to talk about!
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'Mercy!' cried Gandalf. 'If the giving of information is to be the cure of your inquisitiveness, I shall spend all the rest of my days in answering you. What more do you want to know?' 'The whole history of Middle-earth...' |
08-08-2005, 01:04 AM | #2 | ||||
Deadnight Chanter
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affect me? yes, it does...
I won't come out with analysis this time round, but as one of the questions posed in Esty's initial post inquired about feelings, let me state that this is a chapter to send shivers down my spine more often than not (only surpassed by Rohirrim horns in the morning by the end of chapter 4 with regards to intensity of shivers ). My skin prickles as I read through the verses of the chapter:
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But Aragorn is again symbolic figure, the King to bring the Hope back, and his dialogue with Éomer upon their foretold meeting on the battlefield is another piece to make my hair stand on end: Quote:
And as is oft with Tolkien, the chapter resolves not in a tense of the battle, but in a tender reflection upon future lament made for the fallen, thus, indirectly hinting there will be a future, giving the attentive reader hope that despite present horror and hopelessness, there still will be people to sing: Quote:
Talking of feelings again, it helps (in my personal case, of course) to 'feel the chapter' even more intensely if reading it simultaneously listening to Nightwish, album 'Century Child', specially 'End of All Hope' song, the very thing I'm doing alongside composing this post
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08-08-2005, 11:45 AM | #3 | |
Riveting Ribbiter
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It's good to be back...
Éowyn's courage is a highlight in this chapter. I think there are several factors that bring out her fearlessness.
Hopelessness is a major factor. For the last few chapters, she has been looking for death, and it is that impression which remained with Merry during their ride together. But even more than despair, I think Éowyn draws on love for Théoden. Quote:
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08-08-2005, 12:12 PM | #4 | ||
Dead Serious
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The episode of Theoden's fall, the Witchking's defeat, and the victory (and wounding) of Eowyn and Merry is the iconic episode of this Chapter, but to me the part that always stands out in my mind is the onslaught of the Rohirrim AFTER Theoden's death as Eomer- and the subsequent passage:
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08-08-2005, 12:36 PM | #5 | |
Princess of Skwerlz
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'Mercy!' cried Gandalf. 'If the giving of information is to be the cure of your inquisitiveness, I shall spend all the rest of my days in answering you. What more do you want to know?' 'The whole history of Middle-earth...' |
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08-08-2005, 07:52 PM | #6 |
Regal Dwarven Shade
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Along a similar line, it is fear for another rather than himself that awoke Merry's slow-kindled courage of his race.
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08-09-2005, 11:16 AM | #7 | |
Bittersweet Symphony
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More substantial thoughts when I have the book with me. |
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08-09-2005, 02:00 PM | #8 | |||
Illustrious Ulair
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So what seems to have happened is that the moment the Barrow Blade entered his 'flesh' it broke his 'will' - ie the 'spell' of the blade bound about with spells for the bane of Mordor remember) was intended to overcome the 'spell' which held the WK's sinews to his will. So, what we see is a kind of 'battle of wills' - which the WK loses. The magic of the blade is more powerful than the 'magic' of the WK. So, we have an example of Numenorean 'magic' (possibly Elvish in origin) overcoming the power of Sauron in the WK. Not having any information to hand & the Encyclopedia of Arda & Foster's Guide not being much help, does anyone know whether the WK was a Numenorean himself? Whatever. What we also have is Eowyn's naming of him 'dwimmerlaik' or phantom. He has 'sinews', he can wield a mace & break her arm, yet it seems that he is rather a 'will', controlling a physical vehicle, & that his 'body' is as much a thing subject to his will as is his Fell Beast or the mace he uses. Its as if the Barrow Blade severs 'him' (his 'will') from the physical realm, breaks his hold on this world, & the result is that he is removed into the other world forever. He (like the High Elves) has existed in both realms, but unlike the Elves he has, since his subjugation to Sauron, truly belonged only in the other world. Only his 'will' enabled him to control things in this world. He is truly a 'wraith', a 'phantom'. The Barrow Blade has cut his link with this world. Its interesting that in folklore the inhabitants of the other world, the fairies, fear iron as it makes them powerless to act on one who bears it. Certainly, what we witness on the Pelennor is yet another crushing of Sauron's power at the (long dead) hands of a Numenorean. Just as a Numenorean blade (symbolically - I know Narsil was made by Telchar!) cut the Ring from his finger & destroyed his body 'cleaving the undead flesh, breaking the spell that knit his unseen sinews to his will.' so his greatest servant suffers the same fate. Sauron must have felt both anger & fear when he realised his servant's fate. EDIT Quote:
Both have been through the most severe depression - clinical depression we might say - death is at the end of the road each has chosen, but when they get to that end, confront death face to face, Eowyn defies it. And she does it without any real hope of success - unlike in the movie, where she says she will 'kill' the WK if he touches Theoden in the book she merely says she will smite him - 'knowing' that that will make not a bit of difference. The point is that when it comes to it, when all she can do at the last, is 'spit' in her enemy's eye before he kills here she does precisely that. The WK is a symbol for both of them, Denethor & Eowyn, he is their 'depression', the black cloud that has covered them for so long, made (undead) flesh. Denethor allows himself to be consumed by that cloud, Eowyn strikes at it. If she calls him 'phantom' it is both because that is his true nature & also because he is the 'emptiness', the 'nothingness' of her life. When she cries 'Begone foul Dwimmerlaik!' she is crying out as much at her own, internal, WK as against her foe on the battlefield. That act of defiance, as anyone who has suffered from depression will tell you, is what seperates the 'victims' from the 'survivors'. Its not the fact of death - which is inevitable - but our response to it, which is important. But what of Eomer? What is his response to the death of his kin & the seeming inevitability of his own death & the destruction of his people? Quote:
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08-09-2005, 03:03 PM | #9 | |
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08-09-2005, 03:18 PM | #10 | |
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08-09-2005, 04:25 PM | #11 | ||||
A Mere Boggart
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Right, where to start...?
Firstly, I liked what Celuien says about Eowyn's love. I think that what drives her to join the men in battle is love, unrequited love for Aragorn, and it is certainly love that gives her the courage to face the WK. That was a great insight! perhaps it is at this moment that Eowyn realises who she really does love, and that is her Uncle - this is a strong bond, possibly much stronger than the bond of the soldier and his superior/king/captain. The WK lacks anything approaching Love and this makes for a good opposite force. In addition, it shows that in Tolkien's world (and also in our own), the strength of Love is greater than the strength of Hate. In this chapter are those terrifying lines: Quote:
I still want to know what the 'houses of lamentation' are. Could they be something to do with what Gandalf says? The 'abyss' that was prepared for him? Or are they some kind of alternate Halls of Mandos? If both are different places, I do wonder just what kind of punishment an eternal abyss might be for a figure such as the WK; only a place which deprived such a figure of any power might be truly a threat. Quote:
We also learn some facts about the enemies, that the Easterlings are experienced in battle, and the Corsairs strike fear into the hearts of the Gondorians (hinting at their past history of conflict). I do wonder who are the 'Variags of Khand'? When first mentioned I took them to be Men, but along with the orcs they fear light and I wonder exactly what race they belong to. This is something I shall have to look up. Quote:
I also was quite taken with the description of the evening sun hitting the battlefield and river and making them look as though they were bloody. It makes me think of a tale I heard from someone I know who was working in Africa and saw the waters of Lake Victoria (I hope i've got the right lake there!) turn red one day; the red was the blood washing downstream after a confrontation between Hutu and Tutsi forces. The description of the origins and breeding of the WK's steed are also interesting, and suggest that it is one of a breed of creature that has somehow survived from ancient times. And where are the 'forgotten mountains cold beneath the Moon'? Are there parts of Middle-earth where the sun does not reach? Maybe this is Khand and might explain why the Variags shun the light? Yet in the midst of the description of this terrifying creature I found something which made me smile: Quote:
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08-09-2005, 04:46 PM | #12 | |
Regal Dwarven Shade
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I suspect that it was Sauron's torture chamber, perhaps where he cooked up his necromancy.
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08-10-2005, 05:53 AM | #13 |
Riveting Ribbiter
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It also struck me that Eowyn standing over Theoden in battle with the Witch King paralleled Sam's confrontation with Shelob. Both faced a terrifying evil force far stronger than themselves out of love and loyalty to another.
Eomer does seem uncomfortably close to Denethor with his response to Eowyn's apparent death. I like Firefoot's explanation. Another example of a Rohirric warrior using despair as motivation to achieve victory in battle, or is this revenge?
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08-10-2005, 08:49 AM | #14 | |||||
Ghost Prince of Cardolan
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One of my favorite chapters, as I'm sure it is for everyone else.
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08-10-2005, 01:54 PM | #15 | |||
Illustrious Ulair
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Finally, this is the third chapter which culminates (or nearly does & if I'm right about the last 'paragraph' in the previous chapter actually being 'verse') in a poem made 'long after' the events of the chapter. There are two 'effects' of these 'later interpolations' - one, they emphasise that what we are reading is a 'compilation', a work put together by various hands over a long period, first by Bilbo/Frodo/Sam & afterwards translated & added to by others - notably Findegil the King's scribe - & in the last instance by Professor Tolkien (unless we count the translators of LotR who have followed Tolkien) two, they reveal for attentive readers that 'long after' the events we're reading about there would be song makers in Rohan still around to compose heroic elegies to the fallen. I think this accounts for Eomer's sudden bursting into alliterative verse at his discovery of Theoden's body. In a sense, the events of this chapter are like the ending of the last one - we're not reading reportage here, but a heroic legend, probably originally set down in verse. How this fits in with the 'conceit' of the story being set down relatively soon afterwards by Frodo is a more difficult question. He would certainly have got the story from Merry, who was a knight of Rohan, & may have leant towards a 'print the legend' approach - who can say? |
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08-11-2005, 06:13 PM | #16 | |
Regal Dwarven Shade
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However, I think "worship" is far too strong a word for it. "Respect" might be a better term. Just because you desire the good opinion of somebody does not mean that you worship them (even if they are dead.)
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08-12-2005, 01:04 AM | #17 |
Wight
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Ah, this is one of my favorite chapters, for so many reasons.
One of the things I've found interesting about this chapter is the way it manages to give the reader a sense of the family feelings of Theoden and his 'adopted children', Eomer and Eowyn. They are his own kin to start with, and Eomer is the next in line biologically, but there is a sense of sincere caring between the three of them. As Celuien points out, Eowyn is strongly motivated to take her stand against the Witch King out of love for Theoden. I agree that she is more motivated by that love than by her despair and her upbringing. Eomer's cry of "Death take us all!" after Eowyn is found dead (he thinks) on the battlefield is despairing, but I think it's despair rooted at least partially in shock and grief at having lost the very last members of his family -- one of whom he thought safe back in Rohan. And as he is dying, Theoden thinks of his place among his ancestors as well as the family he's leaving behind, specifically calling Eowyn "dearer than daughter". Compare the feelings these three express in their words and actions to Denethor's treatment of Faramir!
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08-20-2005, 07:54 AM | #18 | |||||
Cryptic Aura
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Some rambling observations here for this incredible chapter, which I must say has always drawn from me strong emotions.
Estelyn mentioned how the title of our last chapter used alliteration. There's lots in the poems in this chapter which imitate Old English style--which I would assume comes from Frodo the real narrator rather than be one of Merry's perceptions--but one of my favourite lines is the following: Quote:
The strange winged creature who bears the Witch King. Where does it come from? It is a creature out of a dark, primeval past, as Shelob and Ungoliant? Quote:
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There is one other passage that I think is highly ambiguous. (I'm not sure if we will be called upon to suggest a movement between Frodo's recollections and his POV and his attempt to suggest Merry's POV.) Quote:
There's a possibility of answer at the end of the chapter: Quote:
I'm probably bringing in primary world assumptions about war, but I wonder if there is not something here which suggests Tolkien's own conflicted attitudes about war. Is there a Middle-earth Clausewitz?
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08-20-2005, 08:05 AM | #19 | |
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08-20-2005, 08:49 AM | #20 |
Cryptic Aura
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So it's just another sleight of fiction then, eh, Kuru? And "fell people" as well will fit that category.
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08-20-2005, 09:44 AM | #21 | |
Regal Dwarven Shade
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Yet another instance where things revolve around the word "like."
The word "like" is used. For somebody like me, in order to be consistent, I must take the view that these were not in fact half-trolls but only looked like...er...I mean similar to a troll.
Not to get too technical but I see a number of problems with breeding humans and trolls together. Quote:
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08-20-2005, 04:25 PM | #22 | ||
Cryptic Aura
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08-20-2005, 05:38 PM | #23 | |||
Regal Dwarven Shade
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B) What do you expect? Look at it as a part of Tolkien's empathy to show that fighting against the Free Peoples was an unpleasant experience for those involved and he appreciated that as an author.
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08-20-2005, 05:54 PM | #24 | ||
Bittersweet Symphony
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<-- shield of a fell people
Dictionary.com says...
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08-21-2005, 09:17 AM | #25 | |
Regal Dwarven Shade
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08-21-2005, 10:39 AM | #26 | |||
Cryptic Aura
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You know, you could be right, Kuru--straws making good strawmen--but I just sort of thought that Tolkien fans might be somewhat as curious about the ways of language as Tolkien was himself and when a rather unique word is used uniquely to describe two 'sides' in the major battle chapter of the book, well, gosh, it was just too tempting to make hay.
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08-21-2005, 12:05 PM | #27 |
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Fell is a word that interests me in the way Tolkien uses it so I think it's a good topic to discuss. I think that he was trying to make the point that 'fell' beasts and 'fell' Rohirrim warriors were taken by the same mood of anger - the first cannot but help be 'fell' as this is how they are bred to be, but the second can help it - which emphasises just how committed to battle they are.
The word itself is interesting as it has a Norse origin, whereas in the geographic sense 'hill' (and even 'mountain') is a lot more mild. As a child I imagined all fells to be tough places to walk, while hills would be gentler. Norse names such as Scafell or Helvellyn sound far more foreboding than names such as Losehill which sounds much softer. Tolkien also uses the term 'fey' to describe the moods of characters in the book, which always strikes me as alike to 'faerie' - does he mean to conjour up an idea that the mood which takes people at this point could be both noble and at the same time perilous? About animals in LotR - I wonder if I am the only one who feels a little sad that the Oliphaunts and other creatures seem to die out after the War of the Ring? Maybe it is a symptom of modern times that we feel sadness for such creatures and the way they are exploited?
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08-21-2005, 04:42 PM | #28 | ||
Cryptic Aura
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One of the things which intrigues me no end about Tolkien was how he could maintain a love and great delight in the warrior epics of old in the face of his experience in the trenches of WWI. There are many ways this seeming contradiction can be resolved, of course, and none of them would be to the discredit of Tolkien. But finding the same word used for both sides really tweaked my curiosity about this point. Quote:
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08-22-2005, 02:22 PM | #29 |
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The only point that I would like to make about this chapter is that, for me, it is genuinely productive of eucatastrophe. I remember very clearly my first experience of the book and reading of the approach of the ships up the Anduin. I was convinced that it wal all over and that the corsairs had come but then lo! out comes Aragorm (with the banner of Arwen, yes yes Esty) and like a miracle the tide of battle is turned.
This is a triumph of two things: first, of Aragorn's skill as a leader. All that he has done and said to this moment has led to this moment. He has returned (it's happened, the King has returned) and he has done so to save his city -- wow wow and again, wow. Just as the hand of Eru/providence will intrude into the story at the Crack of Doom as reward for Frodo and Sam's endurance, so too does Aragorn intrude into the story of Gondor -- which as Denethor has long realised is a story of defeat -- as a reward for their endurance. And this is why I think that Tolkien makes sure that Denethor is so problematic: for the return of the King is not the result of the steadfast adherence to an ideal of the nobility but of the unrelenting, silent and unnamed courage and fealty of the people. Throughout the battle we see that it is the common soldier who must be heartened by Gandalf or inspired to fight on. I mean, by and large the leaders don't do so well: Faramir is felled, Theoden dies, Eowyn and Merry are removed from the field of battle -- sure they all do great things, but they're not the ones who turn the tide: it's the common soldiers, lead by and inspired by their King. Aragorn does not win the battle, he leads his followers to victory -- an important point, insofar as it is the people who will recognise him as Elessar thus making him King. The other thing that makes this productive of that sudden joyous turn, for me, is the craft and art of Tolkien. He has crafted a truly ripping yarn indeed, having left Aragorn's story incomplete a while back, and carefully managed the narrative to this point, it's easy to forget that Aragorn is on his way: with everyone saying "where's Rohan" it distracts us from the real question of "where's the King?" So when it happens its as big a surprise for the reader as it is for the characters in the tale: a not-incosiderable feat. In this way, it's not just the hand of Eru we see at work, but the hand of the writer. And just to round out HI's excellent observation about the giveaway at the end of this chapter. With that song that will be "later made" and sung for years about the victory, the story acknowleges that the good side is going to win: it gives the game away. But that's all part of the eucatastrophe again insofar as this moment acknowleges that Aragorn's miraculous return is not just a moment in a battle, but the definite turning point in history; everything has changed because of this, forever. Perhaps the greatest testimony to Tolkien's story-telling ability is that this moment is so soon forgotten and we are once again on the edge of our seats with Frodo and Sam, hoping that things will turn out all right for them!
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08-29-2005, 11:01 AM | #30 | |
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Oh, this chapter paints such vivid pictures!
We see many portraits of the characters, details and qualities that rise to the surface as they each contribute in their own way. There are two potent images that I find particularly striking in particular, the first one being that of Eowyn facing the WK with his defeated steed at her feet. Tolkien tells us in the midst of the battle “with its [the winged creature’s] fall the shadow passed away. A light fell about her, and her hair shone in the sunrise.” I can see this very clearly in my mind’s eye, a very dramatic snapshot of Eowyn alone, though surrounded by so many. Yet the sun, seemingly so distant, is rising on the rim of the land and she is held, lit by the streaming sunlight. The dawning of some new future. Another ‘snapshot’ is of Aragorn. Quote:
It is also interesting that among the characters that we have been following, the ones who would not be considered ‘key players’ by a military strategist score some impressive victories that are highlighted by Tolkien. Of course I am referring to Eowyn and Merry’s defeat of the WK. It is sad in a way that it over shadows Theoden’s own defeat of the King from Harad. But perhaps this is a good thing as the WK’s defeat is prompted out of love and concern more then duty etc. Also touching was Eomer’s speech to rally his men even as he grieves. In short this chapter reminds me of a old painting of a crowded battlefield, and everywhere you look some story is unfolding. All of them important. |
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08-29-2005, 11:25 AM | #31 | ||
Cryptic Aura
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We are so accustomed, I think, to hearing about the wonderful horses of Rohan and their expert masters that I think we tend to forget the use of and fate of other animals in the battle. Is there any suggestion in any of Tolkien's other writings about why the oliphaunts die out? To be honest, I cannot help thinking--and I know this is irrelevant--of George Orwell's essay, Shooting an Elephant . Quote:
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I’ll sing his roots off. I’ll sing a wind up and blow leaf and branch away. |
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11-10-2005, 02:43 AM | #32 |
Hauntress of the Havens
Join Date: Mar 2003
Location: IN it, but not OF it
Posts: 2,538
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*pops in*
Eowyn fought as a woman.
She could have trembled in fear before the Witch King, surrendering to hopelessness in full knowledge that there's no way she can defeat him. (After all, she was of the 'race' of Men.) Or she could have chosen to ignore the Witch King's statement and continue to fight as a man, as Dernhelm. In doing so, she would be less likely to be underestimated in terms of strength. A woman in the midst of battle could either have been played around with (so to speak) or slain right away by such a powerful enemy, no matter how skilled she might be. But Eowyn risked her life by letting down her hair and revealing her womanhood. She most probably had no idea that there is a prophecy concerning her foe's fall, so that knowledge could not aid her. For all she knew, she was just taking a bold yet stupid move, not to mention clarifying things. But her boldness was rewarded. Where sufficient strength could have been found not, victory emerged. (I don't know if that was clear, but the general idea sure made sense in my mind.) *disappears like a bubble* |
07-15-2007, 11:42 PM | #33 | |
Loremaster of Annúminas
Join Date: Oct 2006
Posts: 2,321
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Quote:
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The entire plot of The Lord of the Rings could be said to turn on what Sauron didn’t know, and when he didn’t know it. Last edited by William Cloud Hicklin; 07-16-2007 at 12:09 AM. |
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03-09-2019, 06:08 PM | #34 |
Dead Serious
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Structurally, "The Battle of the Pelennor Fields" starts with a fairly wide focus, following the Rohirrim into battle. It zooms in like a camera on a helicopter (or a Fell Beast) to Theoden as he is felled by the Witch-king. The encounter with Eowyn is almost intimate: it's two figures on the stage; Merry is almost an eavesdropper.
And then, slowly, after Merry and Eowyn have won their surprsing victory, the camera pulls away again. I still agree with much-younger Formendacil that the eucatastrophic arrival of Aragorn is a favourite part--though I would narrow down my specific moment of joy not to the fact that it is Aragorn (though, of course, it is) but the unveiling of Elendil's standard. We were told in "Minas Tirith" that only the Guard of the Citadel still bear the black and silver with the Tree of Gondor--a last ceremonial memory. Here that memory (and it's a High Priestly one) arrives at the most desperate hour in the flesh. On a far more minor note, the emergence of Aragorn, Eomer, and Imrahil as a Three Musketeers-esque trio pleases me.
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I prefer history, true or feigned.
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03-09-2019, 07:48 PM | #35 |
Blossom of Dwimordene
Join Date: Oct 2010
Location: The realm of forgotten words
Posts: 10,401
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I just reread this chapter because I couldn't keep away. I actually started with the previous one and got carried forward by the momentum. Here we see the resolution of the tension that was building in Merry's story line since his separation from the rest of the Fellowship. The tension peaks in the previous chapter, with Merry having lots of second thoughts about his decisions and struggling to master his fear of the upcoming battle, and seeing Theoden doubt their efforts and their chances - and now the battle is there and they are fighting.
The whole chapter is an emotional roller coaster for the characters and the readers alike. The Rohirrim have come - but Theoden dies - but Eowyn kills the Witch-King - but Rohan's forces are insufficient to overcome the hordes of Mordor - and the corsairs are coming - but they aren't corsairs, it's Aragorn and the saving of the city. There are so many ups and downs packed within this chapter, and each one of them is emotionally loaded, so this chapter is packed with energy. I don't think there's another chapter in the legendarium that is packed with such an intense roller coaster as this one. Either the mood doesn't change as drastically and rapidly from grief to elation to dread and back again, or the events are not as emotionally charged. There has been some talk above about Eowyn: though her journey was spurred by hopelessness and almost passive suicide, her encounter with the WK was spurred by love and defiance. I think that's absolutely true, but I also think that there are more links between her two states than this dichotomy implies. Firstly, I think that hopelessness is what partially played into her courage; not to understate her own inherent courage, but she seemed beyond the bravery of other men. It's almost like she has nothing to fear from the WK because she has nothing to lose. There is no blinding her with an animal fear of death because she seeks death, she is not afraid of it beyond the bravery of non-suicidal people. She is also incredibly firm in her identity and proud of it. It's part of what drove her to desperation, because with that understanding of identity she strove for goals and hopes that were out of her reach. But now it's what keeps her going: she is proud and steadfast in her convictions. The Eowyn scene is my favourite part of the chapter. My heart still soars and falls with every new turn of the roller coaster, but this is the part that I reread the oftenest. I think I'm a bit of a Merry here: wanting to be inspired to be the better person by all that Eowyn is in that moment. Merry is the person in the scene I more readily compare myself to - I don't even hope to be an Eowyn in that situation, I know I wouldn't have the guts, but I hope I could be a Merry.
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You passed from under darkened dome, you enter now the secret land. - Take me to Finrod's fabled home!... ~ Finrod: The Rock Opera |
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