The Phial of Galadriel is an object in J. R. R. Tolkien's epic fantasy The Lord of the Rings . It is a gift from the Elf-lady Galadriel to the protagonist Frodo Baggins, who uses its brilliant light at several critical moments during his journey to Mount Doom.
Tolkien added the Phial late in the writing of The Lord of the Rings; it appears only in his fifth version of the chapter "Farewell to Lothlórien".
The Tolkien scholar Verlyn Flieger describes the Phial as a splinter of the created light. This came ultimately from the Two Trees of Valinor, by way of a Silmaril made from their light, and then via Galadriel's fountain which captured a little of that Silmaril's light, shining as Eärendil's star. The Phial is one of the elements that associate the character of Galadriel with light, water, and Mary, mother of Jesus, indicating Galadriel's psychological pairing with the evil spider Shelob, symbolising light against darkness.
The Phial of Galadriel is a small crystal bottle filled with water from Galadriel's fountain. It contains the light of Eärendil's star. [T 1] The mariner Eärendil is the holder of one of the three Silmarils preserving the light of the Two Trees of Valinor, and he travels the skies like a star aboard his ship, the Vingilot. [T 2] When the Fellowship of the Ring leaves Lothlórien, Galadriel gives each of the nine an appropriate gift. To Frodo she offers the Phial, wishing him: "May it be a light to you in dark places, when all other lights go out." Frodo then wears it around his neck. [T 1]
The hobbits Frodo and Sam use the Phial several times during their journey to Mordor. Sam calls it a "star-glass". On the steps of Cirith Ungol, when Frodo is chased by a Nazgûl, and is about to give in to the temptation to put on the One Ring and reveal himself to the enemy, he holds the Phial instead, which restores his senses. [T 3] Later, its light helps the hobbits fight Shelob in her lair. [T 4]
"... slowly he held aloft the Phial of Galadriel. ... then as its power waxed, and hope grew in Frodo’s mind, it began to burn, and kindled to a silver flame, a minute heart of dazzling light, as though Eärendil had himself come down from the high sunset paths with the last Silmaril upon his brow."
— Book 4, ch. 9 "Shelob's Lair"
Sam uses the Phial to defeat the Watchers of the tower of Cirith Ungol. [T 5] However, its power is no match for Sauron's; when the hobbits try to use it again as they approach Mount Doom, its light dims. [T 6]
After destroying the Ring and Sauron, Frodo leaves Middle-earth from the Grey Havens. As he takes the Phial with him, its light fades and disappears while Sam watches from the Western shore. [T 7]
The Phial of Galadriel appears late in the writing of The Lord of the Rings. When J. R. R. Tolkien reached the chapter "Farewell to Lothlórien", he wrote four versions of the chapter without any mention of the Phial, although the distribution of gifts to other members of the Fellowship appears in the third version. It is only in the fifth version of the chapter that the Phial appears, in terms almost identical to those of the final text. [T 8]
In a summary of events at the end of the story, its light enables Frodo, locked in the tower of Cirith Ungol, to see Sauron's forces massing at the Black Gate to face the approaching army of the West a hundred miles away. Christopher Tolkien, editing his father's mass of texts, comments: "Here the light of the Phial of Galadriel has considerable power, a true star in the darkness". [T 9]
Age | The Light |
---|---|
Years of the Lamps | The two great Lamps, Illuin and Ormal, give light to all of Middle-earth, where the Valar live. |
ending when Melkor destroys both Lamps | |
Years of the Trees | The Valar move to Valinor. The Two Trees of Valinor give light to that realm. |
ending when Melkor strikes the Two Trees, and Ungoliant kills them | |
First Age | Last flower becomes the Moon, last fruit becomes the Sun. |
There is war over the Silmarils. | |
One Silmaril is buried in the Earth, one is lost in the Sea, one sails in the Sky as Eärendil's Star. | |
Second Age | Seedling Nimloth becomes the White Tree of Númenor. |
Númenor is drowned. Isildur brings one fruit of Nimloth to Gondor in Middle-earth. | |
Third Age | Galadriel collects light of Eärendil's Star reflected in her fountain mirror. |
A little of that light is captured in the Phial of Galadriel. | |
Hobbits Frodo Baggins and Sam Gamgee use the Phial to defeat the giant spider Shelob, and the Watchers of the tower of Cirith Ungol. |
For the Tolkien scholar Verlyn Flieger in her book Splintered Light , light is a powerful symbol of divine creation. [2] Little of that ancient light remains in the Third Age, but the Phial's light is a surviving fragment of the light of Eärendil's star. Flieger likens the Phial's stature to Frodo's: it is a splinter of the created light, just as Frodo is a "broken down" fragment of humanity. [3] She suggests contrasting the Phial with the One Ring, as both are called "presents" or "gifts": the Phial is an object of light, the Ring an object of darkness. [3]
For Rosalia Fernandez-Colmeiro, the Phial of Galadriel illustrates the relationship between water and light in Tolkien's work: the light of Eärendil's Silmaril is captured by the water of Galadriel's fountain. [4] Likewise, with its origin in Lothlórien, a forest with axis mundi characteristics, and its power derived from a star, the Phial of Galadriel helps to establish The Lord of the Rings in a mythical space-time. [5]
Beren now, he never thought he was going to get that Silmaril from the Iron Crown in Thangorodrim, and yet he did, and that was a worse place and a blacker danger than ours. But that’s a long tale, of course, and goes on past the happiness and into grief and beyond it—and the Silmaril went on and came to Eärendil. And why, sir, I never thought of that before! We've got—you've got some of the light of it in that star-glass that the Lady gave you! Why, to think of it, we're in the same tale still! It’s going on. Don't the great tales never end?’
The Phial links the Third Age events of The Lord of the Rings to the tales of the Elder Days in The Silmarillion , as does Galadriel herself. The light of the Phial is a tiny part of the light of the vala Elbereth, who created the stars and blessed the Silmarils, and to whom Samwise appeals in the face of Shelob. [6] In the end, the Phial is used to defeat Shelob, a descendant of Ungoliant, the monstrous servant of Morgoth who had destroyed the light-giving Two Trees of Valinor. [7] The link with The Silmarillion is explicit, as Samwise Gamgee evokes Beren on the stairs of Cirith Ungol, shortly before meeting the spider. [T 3] [8] The Phial is effective not only because it contains the light of Valinor, but also because it is a "manifestation of history, of time fulfilled." [8]
For Marjorie Burns, the Phial of Galadriel is one of the elements that indicate the contrasting characters of Galadriel and Shelob: its light contrasts with the darkness of the spider. [9] [10] [11]
In Burns's view, the Phial serves to bring Galadriel's character closer to the Irish goddess The Morrígan, who uses a pale, liquid potion contained in a glass phial. [12]
Sarah Downey, in Mythlore , likens Galadriel to a guide-figure such as Dante's Beatrice in his Divine Comedy , and the Phial "a continued guidance" for Frodo after he has left Lothlórien. Further, she notes that the Phial holds "the light of Eärendil's star, set amid the waters of my fountain", and that Sam voices Galadriel's association with both light and water. Downey comments that like Galadriel, the pearl-maiden in the medieval English poem Pearl is seen in white and gold, while Beatrice shimmers "clothed in the colour of a living flame". The light-bearing Phial, then, connects Galadriel with the celestial ladies of the Middle Ages. [13]
Jason Fisher draws a parallel between the water in the Phial and the Christian sacrament of baptism, [6] noting that Tolkien recognized the similarities between the character of Galadriel and Mary, mother of Jesus. The Phial is akin to charismata, spiritual gifts, in line with Jesus's words in the Book of Revelation : "And he that overcometh, and keepeth my works unto the end, [...] I will give the Morning Star" (2:26–28); in Tolkien's legendarium, the Morning Star corresponds to the Silmaril carried by Eärendil, whose light the Phial captures. [6] The Episcopal priest and Tolkien scholar Fleming Rutledge similarly comments that the Phial is "filled with baptismal water". [14]
The Phial of Galadriel has been illustrated by Tolkien artists including John Howe, [16] Anke Eißmann, [17] and Ted Nasmith. [18] The Phial appears in Peter Jackson's film trilogy, both in The Fellowship of the Ring where Galadriel presents Frodo with the gift, and in The Return of the King where Frodo and Sam use it to get through the Pass of Cirith Ungol, its light dazzling Shelob the giant spider. The prop was made in accordance with Tolkien's written description by Wētā Workshop. [15] There are two Phial of Galadriel cards in the Lord of the Rings Trading Card Game. [19]
Rivendell is a valley in J. R. R. Tolkien's fictional world of Middle-earth, representing both a homely place of sanctuary and a magical Elvish otherworld. It is an important location in The Hobbit and The Lord of the Rings, being the place where the quest to destroy the One Ring began.
Shelob is a fictional monster in the form of a giant spider from J. R. R. Tolkien's The Lord of the Rings. Her lair lies in Cirith Ungol leading into Mordor. The creature Gollum deliberately leads the Hobbit protagonist Frodo there in hopes of recovering the One Ring by letting Shelob attack Frodo. The plan is foiled when Samwise Gamgee temporarily blinds Shelob with the Phial of Galadriel, and then severely wounds her with Frodo's Elvish sword, Sting.
Eärendil the Mariner and his wife Elwing are characters in J. R. R. Tolkien's Middle-earth legendarium. They are depicted in The Silmarillion as Half-elven, the children of Men and Elves. He is a great seafarer who, on his brow, carried the Morning Star, a jewel called a Silmaril, across the sky. The jewel had been saved by Elwing from the destruction of the Havens of Sirion. The Morning Star and the Silmarils are elements of the symbolism of light, for divine creativity, continually splintered as history progresses. Tolkien took Eärendil's name from the Old English name Earendel, found in the poem Crist 1, which hailed him as "brightest of angels"; this was the beginning of Tolkien's Middle-earth mythology. Elwing is the granddaughter of Lúthien and Beren, and is descended from Melian the Maia, while Earendil is the son of Tuor and Idril. Through their progeny, Eärendil and Elwing became the ancestors of the Númenorean, and later Dúnedain, royal bloodline.
The Two Towers is the second volume of J. R. R. Tolkien's high fantasy novel The Lord of the Rings. It is preceded by The Fellowship of the Ring and followed by The Return of the King. The volume's title is ambiguous, as five towers are named in the narrative, and Tolkien himself gave conflicting identifications of the two towers. The narrative is interlaced, allowing Tolkien to build in suspense and surprise. The volume was largely welcomed by critics, who found it exciting and compelling, combining epic narrative with heroic romance.
In J. R. R. Tolkien's legendarium, Lothlórien or Lórien is the fairest realm of the Elves remaining in Middle-earth during the Third Age. It is ruled by Galadriel and Celeborn from their city of tree houses at Caras Galadhon. The wood-elves of the realm are called Galadhrim.
Valinor or the Blessed Realm is a fictional location in J. R. R. Tolkien's legendarium, the home of the immortal Valar on the continent of Aman, far to the west of Middle-earth; he used the name Aman mainly to mean Valinor. It includes Eldamar, the land of the Elves, who as immortals are permitted to live in Valinor.
The following outline is provided as an overview of and topical guide to the real-world history and notable fictional elements of J. R. R. Tolkien's fantasy universe. It covers materials created by Tolkien; the works on his unpublished manuscripts, by his son Christopher Tolkien; and films, games and other media created by other people.
The cosmology of J. R. R. Tolkien's legendarium combines aspects of Christian theology and metaphysics with pre-modern cosmological concepts in the flat Earth paradigm, along with the modern spherical Earth view of the Solar System.
In J. R. R. Tolkien's writings, Elves are the first fictional race to appear in Middle-earth. Unlike Men and Dwarves, Elves do not die of disease or old age. Should they die in battle or of grief, their souls go to the Halls of Mandos in Aman. After a long life in Middle-earth, Elves yearn for the Earthly Paradise of Valinor, and can sail there from the Grey Havens. They feature in The Hobbit and The Lord of the Rings. Their history is described in detail in The Silmarillion.
Frodo Baggins is a fictional character in J. R. R. Tolkien's writings and one of the protagonists in The Lord of the Rings. Frodo is a hobbit of the Shire who inherits the One Ring from his cousin Bilbo Baggins, described familiarly as "uncle", and undertakes the quest to destroy it in the fires of Mount Doom in Mordor. He is mentioned in Tolkien's posthumously published works, The Silmarillion and Unfinished Tales.
Galadriel is a character created by J. R. R. Tolkien in his Middle-earth writings. She appears in The Lord of the Rings, The Silmarillion, and Unfinished Tales.
Morgoth Bauglir is a character, one of the godlike Valar and the primary antagonist of Tolkien's legendarium, the mythic epic published in parts as The Silmarillion, The Children of Húrin, Beren and Lúthien, and The Fall of Gondolin.
The Silmarils are three fictional brilliant jewels in J. R. R. Tolkien's legendarium, made by the Elf Fëanor, capturing the unmarred light of the Two Trees of Valinor. The Silmarils play a central role in Tolkien's book The Silmarillion, which tells of the creation of Eä and the beginning of Elves, Dwarves and Men.
Christianity is a central theme in J. R. R. Tolkien's fictional works about Middle-earth, but the specifics are always kept hidden. This allows for the books' meaning to be personally interpreted by the reader, instead of the author detailing a strict, set meaning.
Character pairing in The Lord of the Rings is a literary device used by J. R. R. Tolkien, a Roman Catholic, to express some of the moral complexity of his major characters in his heroic romance, The Lord of the Rings. Commentators have noted that the format of a fantasy does not lend itself to subtlety of characterisation, but that pairing allows inner tensions to be expressed as linked opposites, including, in a psychoanalytic interpretation, those of Jungian archetypes.
J. R. R. Tolkien built a process of decline and fall in Middle-earth into both The Silmarillion and The Lord of the Rings.
Tolkien's monsters are the evil beings, such as Orcs, Trolls, and giant spiders, who oppose and sometimes fight the protagonists in J. R. R. Tolkien's Middle-earth legendarium. Tolkien was an expert on Old English, especially Beowulf, and several of his monsters share aspects of the Beowulf monsters; his Trolls have been likened to Grendel, the Orcs' name harks back to the poem's orcneas, and the dragon Smaug has multiple attributes of the Beowulf dragon. The European medieval tradition of monsters makes them either humanoid but distorted, or like wild beasts, but very large and malevolent; Tolkien follows both traditions, with monsters like Orcs of the first kind and Wargs of the second. Some scholars add Tolkien's immensely powerful Dark Lords Morgoth and Sauron to the list, as monstrous enemies in spirit as well as in body. Scholars have noted that the monsters' evil nature reflects Tolkien's Roman Catholicism, a religion which has a clear conception of good and evil.
In Tolkien's legendarium, ancestry provides a guide to character. The apparently genteel Hobbits of the Baggins family turn out to be worthy protagonists of The Hobbit and The Lord of the Rings. Bilbo Baggins is seen from his family tree to be both a Baggins and an adventurous Took. Similarly, Frodo Baggins has some relatively outlandish Brandybuck blood. Among the Elves of Middle-earth, as described in The Silmarillion, the highest are the peaceful Vanyar, whose ancestors conformed most closely to the divine will, migrating to Aman and seeing the light of the Two Trees of Valinor; the lowest are the mutable Teleri; and in between are the conflicted Noldor. Scholars have analysed the impact of ancestry on Elves such as the creative but headstrong Fëanor, who makes the Silmarils. Among Men, Aragorn, hero of The Lord of the Rings, is shown by his descent from Kings, Elves, and an immortal Maia to be of royal blood, destined to be the true King who will restore his people. Scholars have commented that in this way, Tolkien was presenting a view of character from Norse mythology, and an Anglo-Saxon view of kingship, though others have called his implied views racist.
J. R. R. Tolkien, a devout Roman Catholic, embodied Christianity in his legendarium, including The Lord of the Rings. Light is a prominent motif in Christianity: it is the first thing created by God in the Book of Genesis, it symbolizes God's grace and blessings elsewhere in the Old Testament, and it is closely associated with both Jesus and humanity itself in the Gospel of John in the New Testament.
Si nous approfondissons un peu plus le symbolisme de l'eau chez Tolkien, nous nous apercevons que l'élément liquide est étroitement lié à la lumière: la fiole de Galadriel renferme la lumière de l'étoile Eärendil, captée dans l'eau de la Fontaine. [...] En tant que navigateur, Eärendil est lié à l'eau; en tant qu'étoile, il est lumière. L'équivalence eau–lumière est encore plus nette dans Le Silmarillion, où la lumière émanant de l'Arbre d'Or et de l'Arbre d'Argent est de consistance liquide et recuellie dans des cuves. [If we deepen the symbolism of water in Tolkien a little more, we'll see that the liquid element is tightly bound to light: the Phial of Galadriel contains the light of Eärendil's star, trapped in the water of the Fountain... Equally, Eärendil the navigator is bound to water: like the star, he is light. The water-light equivalence is even clearer in The Silmarillion, where the light from the Tree of Gold and the Tree of Silver has a liquid consistency and is collected in barrels.]