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Tolkien's women dying of grief because their husbands have died and their husbands are their only cause for living is his version of "dying in childbirth".
Tolkien might write a variety of excellent, strong and fascinating women (not as many as male characters, of course, let's not be crazy here) but the opinions reflected in his personal writing that most women are defined by men, and usually one man, that their abilities almost hinge on how much a man can inspire and interest them, that on falling in love she loses grip of everything else, does show up in his fictional writing too, which just how prevalent the "husband dies because of combination of the plot and his own personality" and "woman dies because husband dies" trope is in his writing.
And it's like, Eowyn has a speech about this. She rages to the heavens that women are told "you're place is in the home, and after the men are dead you can be burned in the home, because the men don't need it anymore". He has Eowyn literally call out this phenomena that a woman becomes dispensable after her husband dies, that it the husband, loving the husband, tending the husband, responding to the husband, that gives her life meaning, and with him gone there's nothing left for her to do but die. But then his writing of women is filled with that very same principle, with even Eowyn's mother "dying of grief" after Eomund's death.
And that's particularly irritating because Theodwyn wasn't even an elf, for whom grief was genuinely fatal. She was a mortal woman who just "died of grief".
Like, how? Did she kill herself? Starve herself? Was she already unwell and the loss of Eomund caused her to give up receiving treatment? It doesn't matter, the specifics don't matter because the specifics would mean Theodwyn made actual choices, it would mean showing how Theodwyn took steps to bring about her death, it would mean that maybe Theodwyn could have lived after Eomund's death, that Eomund's loss did not inevitable mean her own demise, it would mean she could have chosen otherwise, but didn't.
We know the specifics of Eomund's death. His fury, his love for horses, his hot headedness, he loathing of orcs. We know the wider context of the conflict he died in, his own personal traits and motivations for going to fight, and the manner of his death. But Theodwyn's death is just a passive "and she died of grief", as though this was a natural occurrence she was helpless to avoid. Eomund was dead, so Theodwyn was dead, because Theodwyn was Eomund's accessory, and once Eomund was gone, there was nothing left for Theodwyn to do but die as well.
A Rohan Secret Santa gift for @celeluwhenfics! Happy holidays! âïž
Summary: For all her life, Ăowyn has worn winter as a second skin. (Or, a study of Ăowyn, amid various winters.)
Rating: G
Word Count: 2.7k
Dead. It is a hollow word, Ăowyn thinks, as hollow and heavy and brief as the thud of the door as her mother slams it in the face of the messenger.
Dead. It holds no meaning for her; meaning slips like water over stones, trickling, vanishing. What is death to her fatherâs laugh, as bright and living as the dance of flames? What is death to the rumble of his voice in his chest, like the tumbling of stones, as she leans her head against him?
She has been permitted to hear little of the news, but she gleans what she can from standing in the shadows, sifting words. And there are many of thoseâflurries of them, falling as fast as the late snow that falls white through the open door, left ajar and forgotten in the bustle of aunts that surround her mother. The snow will melt, come morning; it has never stuck in any of Ăowynâs years. Winters in the Mark are a thing of winds and frost, with only a dusting of snow on the coldest days that turns to water beneath the cold brilliance of the rising sun.
The orcs bore torches, she hears, and rose silent and sudden from the rocks of the Emyn Muil like a wall of flames in the night and then set fire to the corpses.Â
Corpses. It is the first time she has heard the word and known it to be used in place of a name, a beating heart, the warm hands that first lifted her into a saddle and took the reins and led her gently around the paddock.
Wearily, he rubbed his forehead, his eyes noting how she stood firmly on her feet. Her back was straight â an antithesis to her tumultuous blonde hair â and her jaw was set. It reminded him of his sister.
He sighed again, because it seemed his lecture on safety had fallen on deaf ears so audaciously.
He placed his hands at his waist, but then crossed his arms before dropping them at his sides.
Stubborn! Ăomer, blessed and beloved King of the Mark, could not quite comprehend just how stubborn his firstborn was being. Had he been like this as well at the tender age of fourteen?
Ah, but his life had been different. She had not lost both her parents, nor had she been forced to move to another part of Rohan when she had been eleven. Her life had been as stable as a mountain.
âThunderbolt knows me, Father,â she replied, âI have spent nights and days looking after him ever since he was born â â
Just like he had with Firefoot.
âAnd he trusts me enough to ride without a saddle.â
He noticed her flinch at his booming voice, and at once all his frustration dissipated. He could not bear to see her upset. He wanted better for her.
Even if she was stubborn and reckless, just like him. Just like her grandfather, Ăomund.
It was her inheritance, and try as he might, he could not separate her from it. He could only attempt to balance it with sensibility.
Ăomer sighed again and drew closer to her. Resting a gentle hand against her cheek, he made her meet his gaze.
âNera, if something were to happen to you, it would devastate me. Surely you cannot blame me for worrying about you?â
There was a flicker of shame and understanding in her sharp grey eyes â just like her motherâs - she looked away. It took her a moment to murmur her reply. âNay.â
This was enough reflection, he decided. âThank you.â
They shared a smile.
âFrom now on, someone will be at your side when you try any more tricks â â
Her smile quickly gave way to a frown. âFather!â
âAnd you must also receive some consequence for your reckless behaviour â â
âFather, that is not fair!â
The furious stomp on the ground made him bite his lip to contain his grin. Did she inherit her temper from Firefoot, too?
âI am afraid I must insist, Nera, or your siblings shall accuse me of giving you a preferential treatment.â
âThose two little rats,â Nera hissed, her fists now clenched at her side, âThey are just jealous.â
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Also, though she didnât die, Melian abandoned Middle-earth when Doriath needed her most, out of grief for Thingol. And though it is not explicitly grief, Mithrellas abandoned her family as well.
Not sure if thatâs romantic or sexist of good old Tolkien.
Iâve praised his well-written strong female characters, and I still do and always will ⊠but I admit this particular aspect feels problematic.
LĂșthien is an exception, of course, as she went to the Halls of Mandos with the intent of saving Beren, rather than actually giving up. (And sheâs always a badass in everything she does, dead or alive.) Also Andreth was old anyway when Aegnor died, so her passing couldâve easily been the effects of old age worsened by grief.
But this isnât the case for any of the other aforementioned women. They each give up on their entire lives because of the absence of one man. This wouldnât feel so problematic if it also happened to male characters as a result of romantic love. But the only male character who died of grief is Brego, who was mourning his son, not a lover. Perhaps Daeron may have died from his pain over LĂșthien, but this is never explicitly written.
Idk ⊠does anyone else have thoughts about this?
Omg what a good question! Thank you for leading my thoughts in that direction. There is SO MUCH to unpack there, and even more to imagine, because as you said Tolkien left us a lot of room there (euphemism of the month). I will allow myself to add Morwen Steelsheen to this reflection, because I think it makes sense to link her to her daughters, and similar questions arise around her character.
But Iâm a scientist, so letâs think about this rationally and stay organized. I will answer in four parts (Iâm not sorry about it)
1. What the canon actually says
2. What are the possibilities, what must be ruled out and why
3. Why I will NOT be going there with my current WIP pHORSEuasion
4. Freeform headcanons I still have on this matter!
Part 1: Deep dive in the canon
Most of what we know about Thengelâs family comes from a couple paragraphs in Appendix A. I have laid out this information in a timeline, with the following assumptions, which can be contested, but thatâs what I chose to work from:
-Only one child is born per year
-There are no twins in the family
-The first child of a couple is born at earliest one year after their wedding
-Ages given assume a birthday on January 1st. If the actual birthday happens after the event in the calendar year, the character would technically be one year âyoungerâ
And we learn a little about Morwen when Ăowyn is described: âĂowyn was slender and tall, with a grace and pride that came to her out of the South from Morwen of Lossarnach, whom the Rohirrim had called Steelsheen.â
(I must say that I am questioning this past perfect âhad calledâ. It sounds like Morwen is not there anymore, otherwise past simple âcalledâ would have been used. But then, it is hard to pinpoint when in time the narrator is placing themselves in this passage. If referring to Ăowynâs early adult life, it would be a clue in the direction that Morwen is not alive anymore by the War of the Ring, or at least that she is not in Rohan anymore. If referring to an undefined point at the moment of writing in the Fourth Age, it means nothing at all. But weâre now at the level of microscopic details from the text!)