The Tale of Aragorn and Arwen

• 1. Appendix Placement And Purpose

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  J. R. R. Tolkien published The Lord of the Rings in 1954 and 1955, placing a story about Aragorn and Arwen within its appendices rather than the main narrative. This decision puzzled many readers who expected the romance to be woven into the central plot. In a letter dated the 6th of April 1956 to his publisher Rayner Unwin, Tolkien stated that this tale was the only part of the Appendices that was "really essential to the story." He explained that the main text is told from the hobbits' point of view, which naturally excludes deep exploration of Aragorn's relationships or Arwen's background until their marriage at the end. Publishers sometimes tried to cut these sections entirely, such as during the first Swedish edition between 1959 and 1961 known as Sagan om ringen. Tolkien insisted on keeping the tale because it provided necessary context for understanding events in the main book. The first one-volume edition released in 1968 omitted all other appendices except for this specific story. Christopher Tolkien later traced the evolution of the tale through unpublished manuscripts in the twelfth volume of The History of Middle-earth. He found evidence of an abandoned experiment where the author had attempted to insert the story directly into a history of the North Kingdom before settling on the appendix format.

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• 2. Frame Story And Narrative Voice

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  In the fictional universe created by J. R. R. Tolkien, the account of Aragorn and Arwen was written after Aragorn's death by Barahir, grandson of Faramir and Éowyn. An abbreviated version appeared in the copy of the Thain's Book made by Findegil. Scholar Giuseppe Pezzini notes that this meta-textual frame harmonizes with formal features throughout the text, including scribal glosses and editorial references matching the elaborate textual history detailed in the Note on the Shire Records. Christine Barkley examines how the narrative voice functions within this structure, considering the main part of the tale narrated by Aragorn himself. This creates a layered perspective where the reader encounters the story as both historical record and personal testimony. The framing device allows the tale to exist outside the immediate timeline of the hobbits' journey while remaining connected to their world. It establishes a sense of historical depth similar to Dante's approach in his Inferno. The narrative voice shifts between the distant past of the Third Age and the present moment of writing, creating a bridge between fiction and recorded history. This technique emphasizes the importance of memory and legacy in Middle-earth society.

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• 3. Plot Of Love And Mortality

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  Aragorn visits Rivendell and sings the Lay of Lúthien, an immortal Elf-maiden from the First Age who chose mortality to marry Beren. As he sings, "Lúthien walked before his eyes" and he sees Arwen in the woods, calling out "Tinúviel! Tinúviel!" just as Beren had done. She reveals she possesses the immortal life of the Eldar despite appearing young. Elrond warns Aragorn that a great doom awaits him unless he becomes worthy of kingship. They meet again nearly thirty years later in Lothlórien where Galadriel dresses Aragorn in silver and white with a cloak of elven-grey and a bright gem on his brow. Arwen makes her choice and they climb Cerin Amroth to see Mordor in the East and the fading Elves in the West. They plighted their troth there. Elrond declares they may only marry when Aragorn becomes King of both Gondor and Arnor. After victory in the War of the Ring, Aragorn unfurls the standard made by Arwen at the Battle of the Pelennor Fields and is hailed as King. They marry at midsummer in Minas Tirith while the Third Age ends with Elrond's departure. Aragorn lives for six-score years, which equals 120 years, in great glory and bliss before choosing death at age 210. He lies down in the House of the Kings in the Silent Street giving his crown and sceptre to son Eldarion. Arwen leaves Gondor for Lorien where she wanders under mallorn trees whose leaves fall and dies alone.

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• 4. Medieval Inspirations And Parallels

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  Elena Capra writes that Tolkien drew inspiration from the medieval poem Sir Orfeo based on classical tales of Orpheus and Eurydice. This influence appears throughout The Hobbits Elvish kingdom and stories in The Silmarillion about Beren and Lúthien. Capra identifies key political connections between recovering a beloved character and returning to royal responsibility within Sir Orfeo. Mary R. Bowman compares how Aragorn sings about Lúthien Tinúviel and calls Arwen by that name as if the story had come alive before his eyes. She notes this blurs lines between story and history similar to Dante's Inferno where Paolo and Francesca imitate Lancelot and Guinevere. John D. Rateliff observes that the tale forms one of the very final passages of internal chronology ending with Arwen's grave on Cerin Amroth until the world changes completely. Rateliff explains Tolkien built what he liked in distant past provided he tore it all down again so modern Earth could emerge from wreckage with only vague legends remaining. Marjorie Burns adds that Tolkien cleverly includes rising nobility while Elves voluntarily leave allowing Men to take their place. The marriage infuses Aragorn's line with fresh Elven blood bringing power and nobility to Gondor.

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• 5. Religious Paradoxes In Middle-earth

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  Tom Shippey analyzes the delicate balance between open Christianity and treatment of characters as heathens throughout the tale. He notes both Aragorn and Arwen are pagan though Aragorn is remarkably virtuous without faults like Theoden and foreknows death like a Christian saint. Shippey points out Arwen is inconsolable seeing nothing after death rejecting Aragorn's statement about being bound forever to circles of the world. He observes Tolkien cut religion from The Lord of the Rings because it absorbed into story and symbolism according to a letter to a Jesuit priest. Shippey explains Tolkien hoped God had plans for virtuous pagans like Aragorn who would go to Limbo rather than Hell. Amy Amendt-Raduege describes Aragorn's death following step-by-step process outlined by Ars moriendi including acceptance refusal of temptation dispensation of goods last farewell family affirmation faith. She calls this one of most deeply moving scenes in entire story. Christopher Garbowski contrasts Elves and Men introducing conceit that Elf may marry Man on condition surrendering immortality happening exactly twice in legendarium with Lúthien then Arwen. Germaine Paulo Walsh compares Tolkien view ability exercise wise judgment tied steadfast belief ultimate justice cosmos even face circumstances seem hopeless with attitudes towards death Ancient Greece.

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• 6. Film Adaptation Versus Textual Reality

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  Peter Jackson brought the tale from appendix into main narrative within his film trilogy strategically placed almost exactly halfway through. Chris Walsh notes Jackson combines Arwen arrival presentation banner coronation wedding whereas book separates these events. In the tale Aragorn unfurled standard of Arwen during battle Fields Pelennor while film shows her bringing White Tree banner directly to him. Walsh states Jackson includes flash forward Elrond vision Arwen King widow using phrase There is nothing here only death appearing both Two Towers Return King films. William Gray adds reason for relegation might be lack contribution interlacing narrative device where jumps between parallel threads occur. He writes effect emphasis dramatic action at price love-interest though tale remains one of Tolkien's most moving pieces about enduring love triumphing odds sealed sacrifice immortality live human husband six score years great glory bliss. Mary Bowman argues appendices deny closure narrating events 120 years after final chapter differs non-narrative nature later appendices adding cultural linguistic material. The film depiction differs significantly combining multiple plot points that remain separate in original text structure.

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• 7. Themes Of Death And Immortality

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  Richard C. West analyzes Arwen understanding fateful choice between love Aragorn mortality father wishes immortality. Bill Davis explores mortality through elf choosing die while Anna Vaninskaya studies how fantasy examines issues love death time immortality. Sarah Workman writes Arwen mourning serves overcome meaningless interminable nature immortality quoting Peter Brooks statement all narration obituary. She states Tolkien valued Arwen fate because mourning gaze allows transmission Aragorn memory. Christopher Garbowski notes moment Aragorn voluntarily accepts time death offered Ilúvatar finding optimistic despite Arwen calling gift bitter receive. Germaine Paulo Walsh compares Tolkien view ability exercise wise judgment tied steadfast belief ultimate justice cosmos even face circumstances seem hopeless with attitudes towards death Ancient Greece. Plato stated Homer took Achilles model death sound response despair whereas Tolkien model Aragorn chooses death freely according ancient prerogative Númenórean rulers. Catherine Madsen reflects mortality fading Middle-earth from enormous powers Morgoth Elbereth battled First Age. Verlyn Flieger wrote neither Elves nor anybody knows where Men go leaving world nearest Tolkien dealt question essay On Fairy-Stories speculating fairy-stories made men fairies must deal Great Escape escape death. Shippey comments themes Escape Death Escape Deathlessness vital parts entire mythology.

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