As long as there have been stories, there have almost certainly been debates over which ones are best. These discussions are tricky, because people hold different views of what a good story is. Yet when popular modern fiction stories are mentioned, the names of British authors John Ronald Reuel Tolkien and Joanne Rowling are almost certain to be included. Tolkien’s The Lord of the Rings and Rowling’s Harry Potter have left undeniable marks on the world of fantasy and popular culture, from their first publications, through highly successful films, action figures, Internet fan forums, theme parks, and beyond.
Not surprisingly, The Lord of the Rings and Harry Potter each have their own legions of devoted fans–many of whom are so loyal to their preferred story that they mock fans of the other story. To be a fan of both can be dangerous, and examining them academically might be worse. Yet it is a tempting thing to do, particularly when the issue of Tolkien and Rowling’s female characters is taken into consideration.
Rowling has been hailed as elevating women to new and empowered positions in fantasy. Tolkien, on the other hand, has been criticized in recent times for marginalizing women. This should not be surprising. Tolkien was a male writing during the 1900s, while Rowling is a female author writing in a contemporary setting. The way gender is perceived and presented has changed between their stories’ publications. But is it true that Rowling has advanced the female fantasy character that Tolkien marginalized?
A quick read or watch of The Lord of the Rings and Harry Potter series makes clear the fact that women are more numerous in Rowling’s story. However, to say Rowling’s women trump Tolkien’s by sheer dint of their more numerous appearances is to take the easy way out. Truly answering the question of female portrayals requires going beyond a simple count of how many lines women have or how many times they appear. Only by digging deeper to examine their character qualities and how they fit into the stories of Tolkien and Rowling, can their importance be accurately determined (Enright).
In his essay entitled, “On Fairy-Stories,” Tolkien described the work of a fantasy author:
“[T]he story-maker…” he wrote, “[creates] a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside (12).”
When creating their “Secondary World,” authors often base their works, at least loosely, on actual historical periods and settings. This lends their fantasies a grounding in the real world, but unless they create characters that are true to the period and setting they have chosen, their efforts are wasted. Therefore, a certain retention of traditional gender roles within historical eras and settings is necessary in order to create a realistic “Secondary World.”
This is one reason that Rowling’s female characters may seem more empowered than Tolkien’s. In the world she created, Rowling combined medieval elements with more contemporary ones. Whether you believe this blend has created a successful fantasy or not, the end result is the same. Women in Harry Potter can behave more like women of the contemporary western world without breaking the “Secondary World” of their story.
Rowling’s character Hermione Granger is a good example of this. Hermione is a “Muggle-born” (child of non-wizards) schoolgirl, hard working, academically talented, and a friend–not girlfriend–of Harry Potter. Of all the females in Rowling’s series, Hermione receives the most “ink time” and screen time. She is present from nearly the very beginning of the story, albeit, at first, as a rather bossy, know-it-all girl.
As she matures, she loses a lot of her bossiness, but continues to grow smarter. Rubeus Hagrid, the groundskeeper of Hogwarts School, says “they haven't invented a spell our Hermione [can’t] do” (Harry Potter and the Chamber of Secrets). Often, her magic skills and rational thinking are the means of salvation for her friends, such as when she identifies a mysterious, dangerous beast plaguing the school in Harry Potter and the Chamber of Secrets or finds a way for Harry Potter to pass his first Triwizard Tournament test in Harry Potter and the Goblet of Fire (Rowling).
Though she is naturally bright, Hermione also works hard, taking more classes than any of her friends and diligently doing her homework. One year, she even tries using a Time-Turner that allows her to go back in time so she can take three classes at once. When this makes her life too stressful, she stubbornly perseveres until she nearly has a nervous breakdown. At the end of the year, she realizes her folly, and ceases to use the Time-Turner, but continues to do well in her studies (Rowling, Harry Potter and the Prisoner of Azkaban).
Though women are stereotypically seen as perhaps too emotional, Hermione is frequently the one bringing her somewhat more flighty friends, Harry Potter and Ron Weasley, back to earth when they edge into far-fetched speculations. However, she is not all rationality. Hermione loves, becomes deeply hurt, freaks out, gets jealous, breaks the school rules, and is not above rage or hatred.
Sometimes, her anger drives her to violence, such as when she slaps her enemy, Draco Malfoy, after he provokes her (Harry Potter and the Prisoner of Azkaban). At other times, it is a more positive force, such as when she founds The Society for Promotion of Elfish Welfare to protest house elf enslavement (Rowling, Harry Potter and the Goblet of Fire). In both cases, Hermione is clearly not someone who will take abuse or discrimination quietly. The term “empowered female” seems to describe her well, so it is no wonder she fits quite easily into a modern, Western idea of femininity.
Hermione might, however, have a more difficult time fitting into Tolkien’s world of Middle Earth. The setting of The Lord of the Rings is, in many ways, a more thoroughly medieval one than that of Harry Potter and therefore requires a medieval approach to women. Yet, women are present and have a more important and active part than is obvious at first glance.
Of these women, Lady Éowyn is most visible and directly involved in the story. When she is introduced in The Two Towers, Éowyn is an orphaned young woman caring for her prematurely dotard uncle, King Théoden. The privileges of education and equality with men that Hermione enjoys are nearly unheard of, to her, and she appears to be a helpless character.
However, when she is released from her caretaking duties, Éowyn is revealed to be another sort of woman entirely. The king rides off to war and leaves her to rule in his absence, though there are plenty of males available. He trusts her to lead his people and his trust is not misplaced as Éowyn rules them well (Tolkien, The Lord of the Rings).
Yet she is not happy staying at home, even in a position of political leadership. When asked what she fears, Éowyn replies, “A cage. To stay behind bars, until use and old age accept them, and all chance of valor has gone beyond recall or desire” (The Lord of the Rings: The Two Towers).
This “fear,” combined with true patriotism, and an event in which her love for another is spurned, leads Éowyn to disguise herself as a male warrior and ride to war with her people. Her success at keeping her secret during the entire journey to the front hints at her cleverness. Even her own uncle and brother fail to see through her disguise (Tolkien, The Lord of the Rings).
Not only is she smart, but she is courageous as well. When Éowyn encounters the evil Witch-King of Angmar, head of the Ringwraiths, she refuses to back away. Instead, she holds her ground as he smites her arm a crushing blow and taunts her, saying, “No living man may hinder me!” In response, she removes her helmet, revealing her feminine features and informs him, with a touch of irony, “No living man am I!” Éowyn then proceeds to slay him (Tolkien, The Lord of the Rings).
As Éowyn recovers from an injury received in this battle, she slowly falls in love with a man who has also been wounded (Tolkien, The Lord of the Rings). Their love story, some have argued, is the story of her “taming,” but Éowyn’s power does not rest only in fighting or ruling like a man (Enright). She is equally strong in battle, love, and healing—a role she chooses to take up once the war is over. These traits make clear that Éowyn is an empowered woman who will break gender expectations to do what she believes in.
Both she and Hermione are notable within the “Secondary Worlds” their authors have set them. Hermione is a bright student, loyal friend, and supporter of justice, while Éowyn is a courageous leader, fighter, and eventually lover and healer. They are only two examples of the females in Harry Potter and The Lord of the Rings, but they are representatives of their fellow women characters. Though there are certainly characters in both stories that adhere to more traditional female roles–such as Rowling’s matronly Mrs. Weasley and Tolkien’s love-interest Arwen–even they are strong in their own ways.
So has Rowling furthered empowered femininity that Tolkien marginalized? Not quite. Tolkien has created female characters, like Lady Éowyn, who fit into a medieval world, but are still empowered. However, Rowling has created female characters, such as Hermione Granger, who may be easier for a modern audience to relate to.
Does this make Harry Potter a better story than The Lord of the Rings? That question will doubtless continue to be debated strongly, as will the issue of female gender roles in stories and life. Most likely, there will never be an absolute answer, because there are so many opinions that shape it. One thing is certain, though. Both Tolkien and Rowling have given readers and viewers fantasy stories with empowered female characters to enjoy, learn from, and admire. •
Works Cited
Alberti, John. Text Messaging: Reading and Writing About Popular Culture. Boston: Houghton Mifflin Harcourt Company, 2009. Print.
Enright, Nancy. "Tolkien's Females and the Defining of Power." Renascence. Winter.59.2 (2007): 93-108. Print.
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The Internet Movie Database. Web. 08 Nov. 2009.
The Lord of the Rings: The Fellowship of the Ring. Dir. Peter Jackson. Perf. Ian McKellen, Elijah Wood, Viggo Mortensen, Liv Tyler, Cate Blanchett. New Line Cinema, 2001. DVD.
The Lord of the Rings: The Return of the King. Dir. Peter Jackson. Perf. Ian McKellen, Elijah Wood, Viggo Mortensen, Liv Tyler, Cate Blanchett. New Line Cinema, 2003. DVD.
The Lord of the Rings: The Two Towers. Dir. Peter Jackson. Perf. Ian McKellen, Elijah Wood, Viggo Mortensen, Liv Tyler, Cate Blanchett. New Line Cinema, 2002. DVD.
Rowling, J. K. Harry Potter and the Chamber of Secrets. New York: Arthur A. Levine Books, 1999. Print.
Rowling, J. K. Harry Potter and the Goblet of Fire. New York: Arthur A. Levine Books, 2000. Print.
Rowling, J. K. Harry Potter and the Order of the Phoenix. New York, NY: Arthur A. Levine Books, 2003. Print.
Rowling, J. K. Harry Potter and the Prisoner of Azkaban. New York: Arthur A. Levine Books, 1999. Print.
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Tolkien, J. R. R. "On Fairy Stories." Brainstorm Communication Services. West Chester University, 2005. Web. 30 Nov. 2009.
Tolkien, J. R. R. The Lord of the Rings. Boston: Houghton Mifflin, 1993. Print.
Wolfgram, Susan M., and Amy Collier. "Gender-Informed Parenting: A Review of the Film Harry Potter and the Sorcerer's Stone: Why Not Hermione Granger?" Journal of Feminist Family Therapy. 14.3/4 (2002): 130-32. Print.
Éowyn & Hermione Art Credits:
Hermione photograph, from freewebs.com.
Éowyn photograph, from webspace.webring.com.
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