Sibling Rhetoric in LOTR and The Silmarillion

 From Aragorn and Eomer becoming “brothers” after the war, to the ideological titles of “Firstborn” and “Second comers”, there’s quite a bit of sibling rhetoric in LOTR and the Silmarillion. Let’s explore this literary technique and its purpose in Tolkien’s writing. 

After the Battle of Pelennor Fields, Eomer renews the Oath of Eorl and calls Aragorn his brother, swearing loyalty and friendship between Rohan and Gondor. Of course they’re not literally brothers, but if we take Aragorn as representing Gondor and Eomer as Rohan — two kingdoms that always stand together — the word takes on a whole new meaning. Tolkien’s rhetorical choice to refer to the kings as brothers indicates the solidarity between the peoples, while also accounting for their differences. “Brothers” are not the same person, but (in this case) they share the same values.

A case where “brothers” most certainly do not have the same principles is that of Manwë and Melkor/Morgoth. Here, the description is not meant to be applied in the context of solidarity, but instead similarity of origin. While they still aren’t technically brothers, their lives had similar beginnings, illustrating  how Melkor could’ve been like Manwë and vice versa. Manwë chose to be good and Melkor chose to be the worst — adding another layer to both their characters. 

Another instance where sibling rhetoric is used is in references to Elves and Men as both “the Children of Illuvatar”. Elves are referred to as the “Firstborn” while Men are called the “Second comers”, creating the imagery that Elves are like older siblings to Men. When the Edain first appeared in Western Middle Earth, most Eldar were thrilled to teach them their ways — similar to how an older sibling would guide a younger sibling. This imagery is enhanced by the general trend of typical older-sibling-archetype Elves (responsible, mentorial, bossy), and typical younger-sibling-archetype Men (outgoing, adventurous, wild). Like siblings, they have different natures and different fates, but a strong bond nonetheless: an important concept to the story. 

Overall, the use of sibling rhetoric in Tolkien’s writing seems to have a case dependent purpose. Sometimes its used to show solidarity in beliefs, sometimes similarity of origin, and sometimes even relationship dynamics. In all instances though, it’s a creative literary technique that further develops the characters and cultures of Tolkien’s legendarium.