Tolkien’s metaphysics of evil, part 24
The species of being with whom the problematic motive of preservation is especially associated are the Elves, who, as exaggerated embodiments of otherwise human artistic and technical excellence, also find therein their peculiar temptation to go astray. Tolkien writes of the Elves in one place that 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 re-forming 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. (Letters 146)
As I’ve suggested elsewhere, these two dimensions of the Elves—their artistic superiority and their immortality—are metaphysically and psychologically linked through Tolkien’s hylomorphic anthropology: the powerful Elvish soul, or fëa, that exerts so formative an influence over the Elvish body, or hröa, making it immortal or at least undying, is also what gives their art its heightened spiritual command over matter—in short, its “magic” (in the positive sense of “enchantment”). As with Tolkien’s incarnate angels, however, whose voluntary and extrinsic relation between spirit and body can tend towards a domineering stance in relation to physical reality in general, so also the Elvish relationship of soul and body is simultaneously its glory and its liability, its peculiar virtue when well-ordered and peculiar vice when not.
The reason this “unflawed correspondence” between “product and vision,” between the will executing the product and the intellect first envisioning it (elsewhere Tolkien refers to the sub-creative will as “the effective link between the indestructible mind and being and the realization of its imagination”–Letters 260), becomes a source of temptation for the Elves is that it can of course never approximate the absolute identity of will and intellect (and thus perfectartistic execution) enjoyed by the Creator by virtue of the divine will’s unrivaled capacity of giving being to things exactly as conceived in the divine mind. James Collins makes this point in a discussion of the inherent limitation on angelic causality that, mutatis mutandis, finds equal application to Tolkien’s Elves:
The limitation placed upon direct angelic causality is based ultimately on the finiteness of created separated substances. While they act through intellect and will, they can move other things only in a way proportioned to their natures. Unlike God, the angel is not its own will; it has will in a determinate nature, and the effect proceeds from this faculty according to the mode of the finite nature. Hence angelic power is subject to the conditions of categorical action and passion. As higher forms, separated substances possess supremely universal active powers to which the passive powers of lower substances are not sufficiently adapted to receive an actualization except through the mediation of natural agents. As pure act, God is determined neither in His being nor in His operation to any particular genus or species. His action is transcendental and His will can do indifferently anything that can be done by any created will or natural agent. Hence God requires no preliminary proportioning of His power to the receptive capacity of the material subject. Immediate formal transmutation or substantial change of material substances, then, is possible only for that immaterial substance Whose power is identical with His infinite act of being. (Collins, The Thomistic Philosophy of the Angels, 314-15)
The temptation inherent in the greater correspondence between will and intellect enjoyed by the Elves (and even more so by Thomas’s angels) is the increased possibility that they will covet the absolute identity of will and intellect that belongs to the Creator alone. As Hayden Head aptly puts it in his Girardian interpretation of Tolkien,
the mighty, those who apparently possess more substance, more ‘being,’ than the rest of us, are those most susceptible to the temptation to rise against God,” to give way to the “primeval impulse to appropriate the prerogatives of God… Gazing into the pure ontology of God, the strong man discovers anew his own contingency, and his pride of strength dissolves in the cauldron of envious desire… The fall is that sudden recognition of the incommensurability between God and man. (Head, “Imitative Desire,” 140-1)
Again, the corruption of the sub-creative motive involves the implicit coveting of God’s own power to create.