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By Root 1489 0

(And, of course, the more ‘life’ a story has the more readily will it be susceptible of allegorical interpretations: while the better a deliberate allegory is made the more nearly will it be acceptable just as a story.) Anyway all this stuff* is mainly concerned with Fall, Mortality, and the Machine. With Fall inevitably, and that motive occurs in several modes. With Mortality, especially as it affects art and the creative (or as I should say, sub-creative) desire which seems to have no biological function, and to be apart from the satisfactions of plain ordinary biological life, with which, in our world, it is indeed usually at strife. This desire is at once wedded to a passionate love of the real primary world, and hence filled with the sense of mortality, and yet unsatisfied by it. It has various opportunities of ‘Fall’. It may become possessive, clinging to the things made as its own, the sub-creator wishes to be the Lord and God of his private creation. He will rebel against the laws of the Creator – especially against mortality. Both of these (alone or together) will lead to the desire for Power, for making the will more quickly effective, – and so to the Machine (or Magic). By the last I intend all use of external plans or devices (apparatus) instead of developments of the inherent inner powers or talents – or even the use of these talents with the corrupted motive of dominating: bulldozing the real world, or coercing other wills. The Machine is our more obvious modern form though more closely related to Magic than is usually recognised.

I have not used ‘magic’ consistently, and indeed the Elven-queen Galadriel is obliged to remonstrate with the Hobbits on their confused use of the word both for the devices and operations of the Enemy, and for those of the Elves. I have not, because there is not a word for the latter (since all human stories have suffered the same confusion). But the Elves are there (in my tales) to demonstrate the difference. Their ‘magic’ is Art, delivered from many of its human limitations: more effortless, more quick, more complete (product, and vision in unflawed correspondence). And its object is Art not Power, sub-creation not domination and tyrannous reforming of Creation. The ‘Elves’ are ‘immortal’, at least as far as this world goes: and hence are concerned rather with the griefs and burdens of deathlessness in time and change, than with death. The Enemy in successive forms is always ‘naturally’ concerned with sheer Domination, and so the Lord of magic and machines; but the problem: that this frightful evil can and does arise from an apparently good root, the desire to benefit the world and others* – speedily and according to the benefactors own plans – is a recurrent motive.

The cycles begin with a cosmogonical myth: the Music of the Ainur. God and the Valar (or powers: Englished as gods) are revealed. These latter are as we should say angelic powers, whose function is to exercise delegated authority in their spheres (of rule and government, not creation, making or re-making). They are ‘divine’, that is, were originally ‘outside’ and existed ‘before’ the making of the world. Their power and wisdom is derived from their Knowledge of the cosmogonical drama, which they perceived first as a drama (that is as in a fashion we perceive a story composed by someone else), and later as a ‘reality’. On the side of mere narrative device, this is, of course, meant to provide beings of the same order of beauty, power, and majesty as the ‘gods’ of higher mythology, which can yet be accepted – well, shall we say baldly, by a mind that believes in the Blessed Trinity.

It moves then swiftly to the History of the Elves, or the Silmarillion proper; to the world as we perceive it, but of course transfigured in a still half-mythical mode: that is it deals with rational incarnate creatures of more or less comparable stature with our own. The Knowledge of the Creation Drama was incomplete: incomplete in each individual ‘god’, and incomplete if all the knowledge of the pantheon were pooled. For (partly to redress