Leaf by Niggle and Subcreation

Niggle painting - by ejbeachy 

One of Tolkien's most influential concepts was that of Subcreation; which he described in his essay On Fairy Stories as perhaps the most important justification for that genre we now term Fantasy (more exactly High Fantasy - which is characterized by 'world-building'). 

Subcreation is illustrated in the roughly contemporary short allegorical story Leaf by Niggle, which has usually been printed alongside On Fairy Stories as the volume entitled Tree and Leaf. 

Leaf by Niggle is a really delightful, brilliantly-constructed work; which is also revealing of JRR Tolkien's own fears and hopes. 

Towards the end of the story, the artist Niggle - having died and been through Purgatory, and with help from his previous neighbour Parish - is able to 'finish' his previously-only-planned Great Painting (allegorically equivalent to the totality of Tolkien's Legendarium); and also to have this painting become really-real (a place called Niggle's Parish) and actually to dwell in its sub-world.

Finally, Niggle passes on from his real-Subcreation towards 'the mountains'; and we hear (from some voices that represent aspects of God) that Niggle's Parish is proving to be very useful for souls emerging from Purgatory as 'a holiday, and a refreshment... for many it is the best introduction to the Mountains'. 

Leaf by Niggle neatly encapsulates both the strength and limitations of Tolkien's concept of Subcreation - because on the one hand Subcreation is his justification for serious artistic activity and in particular imaginative and fantasy works... 

But on the other hand, in the final analysis; even the most perfect and fully-realized Subcreative work - such as Niggle's Parish - is for Tolkien merely a recreation (holiday/ refreshment/ introduction). For Tolkien it is the Mountains that provide the highest spiritual destination. 

My understanding of this is that the Mountains represent contemplation and worship. In other words, in Tolkien's scheme; Man's Subcreation - even at its most ideal - is a lower, temporary and transitional phase of spiritual growth; sooner or later to be set-aside in favour of inactive, immersion in God's creation.  

I think that this represents Tolkien's (Roman Catholic, and indeed broadly traditional-Christian) theological view that Man cannot really add-to God's creation. God's creation is complete; and therefore the most any Man's Subcreative activity can do is 'rearrange' aspects of divine creation for particular purposes that have possible value at lower levels of spiritual development.   

This seems to be an inevitable consequence of any monotheism in which God is attributed omnipotence and creation ex nihilo ('from nothing'). 

In a reality in which God already-knows and has-created every-thing, including every-thing about every Man; then there can be no truly original creation. Man's creativity can only be a sub-set of God's, because absolutely everything about Man is of-God.  

Therefore, Tolkien's concept of Subcreation gives with one hand, but takes-away with the other; simply because every possible thing a Man might do from-himself is actually just a kind of 'game' played with bits of God's creation. 

All possible creative activity by a Man can therefore only be partial and - at best - transitional; a kind of play, a pastime; to pass-time fruitfully en route to the Mountain peaks where all such activity is superseded; and Man becomes a purely-contemplative Being wholly-aligned with God's already-existing creation.   

By contrast; my own theological understanding of Christianity is one in which Men live in God's creation, but God's creation is not complete and always developing and expanding; Man is truly free and is a god (of the same Kind as God but much less developed, and only fully divine in Heaven after resurrection). 

Indeed, I see this development of Men to become co-creators with God as the primary reason for the original act of divine creation. 

For me, therefore, Men are therefore able to add-to God's evolving creation, from their own divine and generative nature - and in a permanent way. 

Subcreativity such as Niggle's - and Tolkien's - I therefore regard not as a pastime; but as an ultimately-valid activity; than which nothing is higher - and indeed this divine creativity of Man potentially includes divine procreativity: the begetting of Children of God.

There is only one primary creator, and we live in that reality; but creation is never finished; and it is Man's highest possible aspiration to participate in that creating.

It is the eternal commitment of resurrected Man to live by-Love which aligns all individual creative activity into harmony with the original divine conception.  

The extent and nature of each Man's contribution to creation is part of his unique nature. So, although we cannot all be Tolkiens (or even Niggles!) in terms of Subcreative ability; it is the uniqueness of each Man's nature that makes every resurrected individual's creative contribution significant. 

"In western lands beneath the sun" - discovery of another true poem in Lord of the Rings

In western lands beneath the Sun 

the flowers may rise in Spring, 

the trees may bud, the waters run, 

the merry finches sing. 

Or there maybe 'tis cloudless night 

and swaying beeches bear 

the Elven-stars as jewels white 

amid their branching hair. 

Though here at journey's end I lie 

in darkness buried deep, 

beyond all towers strong and high, 

beyond all mountains steep, 

above all shadows rides the Sun 

and Stars for ever dwell: 

I will not say the Day is done, 

nor bid the Stars farewell.

**

Good, isn't it? The first verse set's up a generic pastoral idyll - yet of a kind we have all experienced. Then, in the second verse, we are suddenly being spoken-to by a specific voice; and from one who is lying mortally sick ('in darkness buried deep'), and who believes he is about to die ('at journey's end'). 

But this voice remembers to us, that in spite of his miserable and terminal situation; there is another world - that same kind of world of sun and stars he described in the first verse; but this world of eternal beauty and joy is 'for ever', eternal!

Therefore, despite his currently dire circumstances - the voice will not believe that his life is truly ending (as it were 'night falling'). He will not 'bid farewell', say goodbye, to 'life'; because he does not expect to die, not finally - but expects to encounter-again the elven stars (symbols of enchanted beauty and joy). 

A short poem with simple language - yet a real poem; which simultaneously suggests a great deal more than the literal and mundane: and what it suggests is lovely, life-enhancing.

 

Yet, how easy it is to miss this delightsome lyric when reading Lord of the Rings - as did I; because it is depicted as sung by Sam Gamgee in the tower of Cirith Ungol; as (merely!) a way of letting the prisoner Frodo know he has arrived to rescue him, and to attract a verbal response from Frodo, so that Sam can find him. 

So I would add this to my list of Tolkien's best 'anthology' poems: these five poems; The Sea Bell; Imran; and Aotrou and Itroun.

Note: As so often; I owe my 'noticing' of such telling detail to that best of all Tolkien scholars and critics - Tom Shippey; who mentions it in a characteristically insightful (and very funny!) videoed lecture at Arizona State University, in 2002.  

Mrs Moore: The greatest mystery of CS Lewis's life - now officially solved

Some nine years ago I wrote a post, in which I speculated on what might be the truth behind the greatest mystery of CS Lewis's life, and a subject on which he maintained (apparently) absolute secrecy: the nature and basis of his decades long relationship with Mrs Janie Moore. 

Just last week, and some 58 years after Lewis died, the mystery has 'officially' been solved in public, with the publication of an interview from the late Walter Hooper (CSL's literary executor, who died a year ago). I have lightly edited the passage, for clarity:

My knowledge of this comes from Owen Barfield almost entirely. Owen Barfield told me that yes, Lewis told him there had been a sexual relationship and it began really at the time, right after he came out of the army [c1918]. 

[Lewis], as he himself has said about himself he was not a moral man at that time. He believed in morality, he believed in goodness, but anyway, he–they did have an affair. And it lasted until Lewis was converted to Christianity [c1931]. 

Lewis told Owen Barfield that part of his reparation for all of that took the form of, first of all he stopped having the sexual relationship with Mrs. Moore as soon as he was converted to Christianity, and he thought that his penance should be and was looking after that lady for the rest of his life. 

I can’t imagine him getting rid of Mrs. Moore. But you can see that this is part of his penance,  and I think that penance went as far as he could, right up until he visited her everyday even in the nursing home. 

This pretty much confirms what I had guessed from contextual evidence:

I believe that what happened was that the relationship between Lewis and Minto was initially sexual (this is now generally accepted), but when this ceased (the time and reasons for which are not known, but was almost certainly before or at the time Lewis gradually became a Christian around 1929-31), Lewis felt he had done Minto a great wrong. At this time, I strongly suspect that Lewis made a vow to do service to Minto for the rest of his life, as a penance for the wrongdoing. I suspect that this was a private matter and that he told nobody - but for the rest of his life he stuck to this penance, and that this is what explained the extraordinary servility of the relationship between Jack and Minto for the last 20 or so years.

Is Aragorn more like King Arthur, or Alfred the Great?

The episode when Aragorn carelessly burns the lembas while sheltering in Lothlorien, and is scolded by an elf maiden 

Is Aragorn more like King Arthur, or Alfred the Great? Of course, he does not have to be like either! 

But there are zillions of people who have drawn a parallel between Aragorn and King Arthur (e.g. 288,000 Google entries pair these names!) - but I can't myself see much resemblance except that they are both Kings - and both Good Kings, at that. 

The main similarity is that both were aided by a wizard - and Gandalf is (obviously) derived from Merlin; as are all modern wizards. But Gandalf and Merlin are not very alike - in particular Gandalf is much more Good than Merlin; whose main intervention was originally (in Geoffrey of Monmouth) to enable Uther to commit adultery. 

And this matter of Goodness is what also distinguishes Aragorn from Arthur; because Arthur is quite flawed as both Man and King (in most versions of the story) - and his only major prowess is generalship (as a single combat fighter he is exceeded by several knights, notably Lancelot). 

By contrast, we know that Aragorn is among the best Men of all time - intelligent, wise, learned, a healer, skilled at tracking, hardy, a great fighter; and possessing a will strong enough to wrest control of the Orthanc palantir from Sauron. We confidently expect he will be the same as a King. 

On this basis, it is probably closer to the mark to consider Alfred the Great as a closer equivalent to Aragorn; since Alfred seems to have been both an exemplary individual; and more of an all-rounder than Arthur. 

Alfred was apparently not only an inspiring leader and excellent general, but also a major administrator and lawyer; scholar and author; and a deep and devout Christian. 

Alfred also has a very roughly analogous trajectory from being reduced almost to a 'ranger', hiding on the 'island' of Athelney in the Somerset boglands, before a 'return of the King' to reclaim his kingdom (about half of what is now England) from The Danes.   

I don't suppose that Tolkien seriously based the character of Aragorn on any particular historical or mythical model - especially considering that Aragorn developed narratively, by increments, from a brown-skinned hobbit-in-clogs called Trotter. 

But, in character, Aragorn seems more like Alfred than anyone else.