I’ve discussed before how Tolkien’s image of the Flame Imperishable refers to God’s creative power over the world, by which he, first, gives existence ex nihilo to his creatures generally, and second, by which he bestows the power of free will and (sub-)creativity upon his rational creatures in particular. Upon review of his explanation of the Flame Imperishable in his commentary on the Athrabath Finrod ah Andreth (Morgoth’s Ring), however, I think the interconnection between these two effects (created being and free, creative will) is a deeper one than the mere genus-species relationship suggested above. As Tolkien explains, the Flame Imperishable
appears to mean the Creative activity of Eru (in some sense distinct from or within Him), by which things could be given a ‘real’ and independent (though derivative and created) existence. The Flame Imperishable is sent out from Eru, to dwell in the heart of the world, and the world then Is, on the same plane as the Ainur, and they can enter into it. But this is not, of course, the same as the re-entry of Eru to defeat Melkor. It refers rather to the mystery of ‘authorship’, by which the author, while remaining ‘outside’ and independent of his work, also ‘indwells’ in it, on its derivative plane, below that of his own being, as the source and guarantee of its being. (Morgoth’s Ring 345)
As Tolkien makes clear, the act of Creation, in which Eru sends the Flame Imperishable into the heart of the world to cause it to be, is a distinct act from the act of Incarnation by which, as Finrod conjectures in the dialogue of the Athrabeth, Eru himself would personally enter into his creation in order to purge it of Melkor’s corruptions. That having been said, it is equally evident that Tolkien still very much conceives of Eru’s creative presence within his creation (and hence of the sub-creator’s presence within his art) in incarnational terms. Creation itself, according to Tolkien’s theology of the Flame Imperishable, involves the Creator being both “‘outside’ and independent of his work” as well as “‘indwell[ing]’ in it, on its derivative plane, below that of his own being…” In this manner, Tolkien may be seen to re-interpret God’s act of Creation as a type of proto-Incarnation.
A few observations. The first is the way this normalizes and naturalizes the idea of Incarnation: if Creation is a kind of Incarnation, it is little wonder that Finrod is able to infer (partly from what he knows of the Flame Imperishable) the possibility of Eru’s future condescension to enter into Arda. Eru will at some point and time enter into the world to give it new being because, in a very real sense, this is what Eru has always been doing. A second observation is how this logic complements but reverses the line of reasoning Tolkien uses in “On Fairy-Stories” in explaining how, in the Incarnation and Resurrection of Jesus Christ, God has given the fairy-story structure of eucatastrophe the reality of history and creation itself: “this story has entered History and the primary world; the desire and aspiration of sub-creation has been raised to the fulfillment of Creation.” The Incarnation, in other words, is God giving our fairy-stories the gift of created being, of sending the Flame Imperishable, as it were, into the heart of our own sub-creative imaginings (themselves the product of God’s creative inspiration), and causing them to become real. Thirdly, and as I’ve also pointed out before, the latter is of course precisely the same drama we find in the Ainulindale, when Iluvatar takes the “fairy-story” that is the Ainur’s Music and Vision and gives it the same being that they themselves enjoy, making the Ainulindale not only a retelling of the story of the world’s creation, but also an allegory for its re-creation in Christ.