Subcreation in The Silmarillion: Aule and the Creation of the Dwarves

Continuing from the previous post, for today an example of how to apply the four (medieval) ways of reading one of the stories from The Silmarillion:  the account “Of Yavanna and Aule.”

 

 

 

For reference, the four ways (or levels) of reading all literature:

1. The literal/historical approach
2. Allegorical / typological (Not the formal or “crude” allegory such as The Pilgrim’s Progress)
3. Ethical / moral
4. Eschatological / end purpose — What hope does this passage point us to?

As applied to this account, an early chapter in The Silmarillion:

• The literal/historical approach: When does this story take place? Tens of thousands of years before Lord of the Rings, very early in the creation, before the appearance of the children of Iluvatar (elves and men).

Who are the characters?  Just four – Aule, Iluvatar, Yavanna and Manwe.  Aule is a smith type character, but not (as is often exhibited in folk tales) hobbled or lame.  As Tolkien described in his letters, all of the Valar characters are unfallen Angels, in contrast with the gods of pagan mythology.  Aule could be viewed as an unfallen version of Sauron.  Yavanna is specifically concerned with growing things, such as trees and flowers.  Manwe is The Lord of the West, and in him we have a parallel to the archangel Michael.  He knows most deeply the mind of Iluvatar.

In this story we have the origin of both the Eagles and the Ents. We also have the basic story as presented.  Aule makes an honest mistake, going off by himself to create.  He repents when he is confronted.

• Allegorical / typological: In this story we have the quality of love from creatures to their creator, a love that is free.  Also we see a picture of prayer and repentance.  Another major element is the father/son relationship, and sub-creation by the child (Aule).  Other themes include the connection between speech and logos (discourse or reason).  Aule at first speaks to the dwarves, but stops speaking when Iluvatar shows up.  Here and elsewhere throughout The Silmarillion, we see that a special silence occurs every time that something is to be created: an example of silent prayer.

• Ethical/moral: the dangers of subcreation that goes off on its own, in isolating oneself and doing something without God.  The lonely artist in his tower — the modern notion of an artist — is clearly opposite of Tolkien’s view.  Another caution is against limited love and lack of empathy.  Both Yavanna and Aule have a limited capacity for love, beyond their own specialty — Aule with the dwarves and Yavanna only with trees and growing things.  It takes a mediator, Manwe, a priestly figure, who is able to understand and connect with both Aule and Yavanna.

• The Hope: to look forward to the day when our sub-created works will be as like and unlike the original versions as we ourselves will be. As Tolkien said in On Fairy Stories, “All Tales may yet come true.”  That includes even the things we make, marred by our impatience.  This story fo Aule and Yavanna is relevant for artists, writers, as well as for parents.  Paul talks about building on the foundation.  What we do well, with holiness, is what will endure.  According to our obedience to God, and how He has revealed to us Hiw will for each of us, that becomes permanently part of paradise.

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