From Athelas in English, 1994, copyright Imladris - Danmarks Tolkienforening

Tolkien's Creation Narrative

as is related in The Silmarillion

Reproduced by Bjarke Friborg

The Ainulindalë

The Music of the Ainur

There existed Eru, the One, called Ilúvatar. He created the Ainur, the Holy Ones, and they were with him before all else. They sang for him, and he was glad. They sang long alone, or several together. But after a time they came to knoe their brothers, and they could see beyond the thoughts they were made of, and the harmony became greater.

It happened then that Ilúvatar sum-moned them and gave them a new insigt, from which he bade them make a Great Music: "The FlameImperishable will give you power", and it is said that not until after the Final Days will there be an equal of such magnificent music. The music was grandiose and without disharmony, and Ilúvatar was gladdened.

But after a time Melkor interfered. He was the Ainu who had received the greatest power and ability, and he desired to create for himself. His music was mixed with that of the others, creating disharmony and confusion, and other Ainur joined him.

Then Ilúvatar arose and smiled, and raised a third theme from the confusion, and was soon in control: "Mighty are the Ainur, whose mightiest is Melkor, but know that nothing can come into the world except through me, and though someone should try to change my music, he will only become an instrument in the creation of even more magnificent things".

Then he gave the Ainur a vision; sight, where before there was only hearing. A new world he showed to them: "All that you think you have given to this world will in truth come from me, and Melkor will discover his secret thoughts and see that they are but a part of the whole. But certain things will I only reveal to you in time".

The Ainur who were sent to the Earth were called the Valar. They began to construct, surprised by the lack of completion, for the vision had moved them deeply. But Melkor wished to rule, and in his hatred declared war on the Valar. Where the Valar raised the lands Melkor flattened them, and where lakes were emptied he filled them.

The Valaquenta

About the First Days: Spring in Arda

The first war took place before Arda was fully formed. Tulkas the Brave drove Melko away. Aulë, the greatest of Craftsmen, made two lamps: Illuin in the North and Ormal in the South. Yavanna, who brings forth growing things, planted. There was celebration and rest on Almaren.

In the meantime Melkor raised a fortress in the far North, deep under the ground in the shadow of dark mountains, and it became known as Utumno. Plants rotted, the forests became dark and deadly, animals became monsters of horn and tusk, who stained the earth red wit blood. Nevertheless, Melkor's attack came without warning, and he threw over the lamps which then burned and destroyed all that lay around them.

The Valar left Middle-earth over Belegaer, the great sea of the West, and journeyed to Aman on the farthest Western shore. Beyond Aman lay the Walls of Night. The mountains of Aman, the Pelóri, were the greatest on the Earth, and Manwë, King of Arda, could see thence to the farthest East when he stood on the peaks, and heard tidings from hawks and eagles. Beyond the Pelóri lay Valinor, which was made fairer than all before, and there grew two trees, which changed from blossoming to giving forth light, and in this way the passage of time was measured.

Ulmo, the Lord of the Waters, did not come often to the councils of the Valar, but though him the waters ran peace-fully in the rivers, and maintained life in Middle-earth during Melkor's tyranny. Oromë the Hunter often went to Middle-earth, and slew foul beasts, and Yavanna healed the wounds of the Earth.

Although Melkor had built a new fastness, called Angband, whose cap-tain was Sauron, it became time for Arda to be prepared for the coming of the elves. Varda, Queen of Arda, made the stars, so that the elves should awake. Melkor was overpowered and taken as prisoner in Valinor for three ages of the world. But Sauron escaped...

Commentary

The above creation narrative contains many elements which show a clear inspiration from well-knon sources, especially Christianity and Norse mythology.

The Ainulindalë is the "most Christian": Eru/Ilúvatar is the One God who has created all things, and who therefore knows what is to come. Even though the Ainur/Valar can think it is they who create, it is the One God who is the source. But is it not also the author Tolkien who is visible, when Ilúvatar keeps things up his sleeves, which will only be revealed later? Melkor's music can be regarded as another version of the Fall from Grace.

The Valaquenta, on the other hand, shows the greatest Norse inspiration: the Valar are, like the Ases, a varied collection, each with their own abilities. Manwë is like Odin, the king, who sees far and wide with the help of hawks and eagles. Oromë, like Thor, is a hunter, who journeys to far lands to battle demons. Beyond these two clear parallels there is Ulmo, the Master of the Waters, a figure reminiscent of Njold, who lives far away and cares for the birds and beasts, or his son Frøj, who would rather tend his fields than attend councils. Yavanna can suggest Nanna (married to Baldur), goddess of the flora. Aulë the Smith could be based on the Finnish god of the smiths Ilmarinen, as in addition "Ilmarinen" is reminiscent of "Ilú-vatar", bearing in mind Tolkien's influence by Finnish mythology.

But on the whole, the characteristics of the gods are common North European themes, or are also found in ancient Greece or the Middle-East; for example, could Tulkas, who drives Melkor away for the first time, be reminiscent of the Sumerian warrior-god Marduk, who drives away the evil dragon Tiamat? There are many intriguing parallels!

When the Ainulindalë is more "cosmic", with its narrative belonging to the "universal" plane, and with its illustration of the ideal background, the Valaquenta is more down-to-earth, and describes the physical creation, through which fortresses are built and monsters roam free. The Music is replaced by blood and fire. The dramatic tale is to me a typical creation account, which gives naïve explanations for the way things are (for example, the world is first lit by two great lamps, and then two trees). The world is originally flat, until the Númenorean invasion of Arda when Eru made it round ­ Tolkien himself expressed in a letter that he was too effected by modern astronomy to easilt imagine a flat world! He was, as is acknowledged, occupied with describing reality as it is (experienced/develop by him), and not only as it was regarded by different people.

If Tolkien originally wanted to create a mythology for England he was frustrated at several turns, when Middle-earth showed itself as going in another direction. After a while, as the story developed, it became less and less compatible with England, even though he should have had a suitable starting point in Christian and North European mythology. In return we were given a different Great Tale: he created not a world for his country, but a world which could stand free for itself!

­ Translated by Martin Hardgrave