The princess of Rohan, who was wounded deeply by her isolation in Edoras, the pain of unrequited love and injuries from the battlefield, also undergoes a metaphorical death. Her old self dies in a process of healing of these injures, when she decides to return not to the battlefield, but rather to domestic sphere. Having experienced greatness and even gone through a kind of death, she realizes that the passion of war is no longer sufficient, and her desire for self-fulfillment must be redirected or replaced by something else. While some critics perceive in Eowyn’s final transformation “a victory, not only for Faramir, but also for Middle-earth’s civilization; an unruly impulse to transcend prescribed gender roles has been successfully thwarted,”