I have commented before on how the progression of the Ainulindale, moving from Music to Vision to Eä, “the World that Is,” allegorizes Tolkien’s claim in the epilogue of “On Fairy-Stories” that in the real-world, historical eucatastrophes of the Christian Gospel we see “the desire and aspiration of sub-creation has been raised to the fulfillment of Creation.” What I hadn’t noticed before, however, was just how fully the Ainulindale illustrates a related point Tolkien makes in his essay, namely the signficance of what he calls “Faërian Drama,” or the art that the fairies themselves exercise within the fairy-stories told by men:
Now “Faërian Drama”—those plays which according to abundant records the elves have often presented to men—can produce Fantasy with a realism and immediacy beyond the compass of any human mechanism. As a result their usual effect (upon a man) is to go beyond Secondary Belief. If you are present at a Faërian drama you yourself are, or think that you are, bodily inside its Secondary World. The experience may be very similar to Dreaming and has (it would seem) sometimes (by men) been confounded with it. But in Faërian drama you are in a dream that some other mind is weaving, and the knowledge of that alarming fact may slip from your grasp. To experience directly a Secondary World: the potion is too strong, and you give to it Primary Belief, however marvellous the events. You are deluded— whether that is the intention of the elves (always or at any time) is another question. They at any rate are not themselves deluded. This is for them a form of Art, and distinct from Wizardry or Magic, properly so called….
To the elvish craft, Enchantment, Fantasy aspires, and when it is successful of all forms of human art most nearly approaches. At the heart of many man-made stories of the elves lies, open or concealed, pure or alloyed, the desire for a living, realized sub-creative art… Of this desire the elves, in their better (but still perilous) part, are largely made; and it is from them that we may learn what is the central desire and aspiration of human Fantasy—even if the elves are, all the more in so far as they are, only a product of Fantasy itself…. In this world it [the creative desire] is for men unsatisfiable, and so imperishable. Uncorrupted, it does not seek delusion nor bewitchment and domination; it seeks shared enrichment, partners in making and delight, not slaves.
Re-reading the Ainulindale, it occurs to me that this is precisely what the Vision of the Ainur is: Iluvatar’s own “Faërian Drama.” Ilúvatar leads the Ainur into the Void and, like a elvish bard about to begin his tale, tells them to “Behold your Music!” But instead of telling them a tale, “he showed to them a vision, giving to them sight where before was only hearing…” And the Ainur are enchanted by what they see, for “as they looked and wondered this World began to unfold its history, and it seemed to them that it lived and grew.” And as Faërian Drama does for its human audience, Ilúvatar tells the Ainur that in the vision they will see and learn everything to which their own music had (unbeknownst to them at the time) aspired: “each of you shall find contained herein, amid the design that I set before you, all those things which it may seem that he himself devised or added.” When the Vision is at last taken away, the Ainur are brought out of their enchanted condition back to their state of “primary belief,” for “in that moment they perceived a new thing, Darkness, which they had not known before except in thought. But they had become enamoured of the beauty of the vision and engrossed in the unfolding of the World which came there to being, and their minds were filled with it…” The result of this disenchantment is a certain discontentedness, an awakened desire to see the objects of this divine drama made real: “Then there was unrest among the Ainur; but Ilúvatar called to them, and said: ‘I know the desire of your minds that what ye have seen should verily be, not only in your thought, but even as ye yourselves are, and yet other.”
In summary, then: (1) Faërian Drama is the art that we–within our own art of fairy-stories–represent the fairies as exercising and to which we aspire ourselves; (2) the Silmarillion is one man’s artistic representation of the fairies’ own art of self-history, at the origins of which is (3) the resplendent Music of the Ainur, the “Ainurian Drama” to which the elves’ own art doubtlessly aspired; (4) however, within this story, finally, we witness the Ainur themselves being treated to the ars divina of Ilúvatar’s Vision, in which the Ainur behold the consummate beauty of being for which their own Music had unwittingly hoped. I said in yesterday’s post that the Ainur are the “elves’ elves.” Here Ilúvatar emerges as the “elves’ elves’ Elf”–the Fairy of Faërie.