Metaphysics of the Music, part 7
One figure who has been discussed by commentators in connection with Tolkien but not where his music imagery is concerned is Friedrich Nietzsche, whose subversion of the classical and medieval ontology of peace and harmony Tolkien’s own creation-myth serves to undermine. In The Birth of Tragedy from the Spirit of Music, an early work that ended his career as a philologist while confirming his calling as a philosopher, Nietzsche argues that the fundamental being of things, so far from constituting a universal harmony, instead embodies an original, violent, and terrifying discord and chaos, one that the Greeks symbolized (Nietzsche argues) through the originally Asiatic god Dionysus. Pitted against the annihilating abyss underlying reality, human existence and experience are a “terror and horror,” an ultimate futility and suffering in which consolation may nevertheless be found through a heroic effort of self-assertion and the artistic creation of meaning, value, and order. This is accomplished by imposing on the Dionysian disorder the pleasing veil of “Apollinian” cultural order and constraint. One way to read the Ainulindalë, accordingly, is to see Tolkien as offering an implicit narrative polemic against his fellow philologist, in which the violent, discordant music introduced by the aspiring Dionysian figure, Melkor, represents not, as Nietzsche would have it, an authentic form of reality, but rather the parasitic and pathetic existence of a nihilistic and ressentiment-filled negation of those beautiful harmonies and peaceful rhythms which flow from the Creator himself.