Perichoresis and Creation: A Theological Framework for Analyzing Tolkien’s Ainulindal? Alongside Other Creation Myths

Rev. Dr. Jay Grave

Abstract

This article explores the intersection between the theological concept of perichoresis and the mythological framework of creation myths, specifically analyzing J.R.R. Tolkien’s Ainulindale? from The Silmarillion compared to real-world creation myths. Drawing from Christian Trinitarian theology, particularly the co-creative concept of perichoresis, I examine how Tolkien’s creation narrative mirrors and subverts traditional mythologies such as the Biblical account in Genesis, Babylonian Enuma Elish, and Norse cosmogologies. The writings of theologians like Ju?rgen Moltmann and Miroslav Volf will be used to frame the Ainulindale? within a relational theological perspective, highlighting the implications of creation as a divine and communal act.

Introduction

The Ainulindale?, Tolkien’s creation myth in The Silmarillion, presents a vision of cosmic creation through music and harmony. At its heart is the theme of unity in diversity—a group of divine beings, the Ainur, led by Eru Ilu?vatar, collaborate to bring a world into being. This vision is literary and theological, bearing echoes of Christian creation myths while introducing unique subversions and transformations of familiar motifs. At the same time, the concept of perichoresis, rooted in Christian Trinitarian thought, offers a profound framework for understanding Tolkien’s creation narrative. Perichoresis, as the eternal dance of the Father, Son, and Holy Spirit, emphasizes the mutual indwelling, unity, and relationality at the heart of divine action, particularly in creation.

Drawing together the theological insights from perichoresis and the literary framework of myth-making, this article will analyze how Tolkien’s Ainulindale? reflects and subverts elements of real-world creation myths. Specifically, we will explore how this creation myth, when read through the lens of perichoresis, offers a vision of creation as a communal, participatory act, as well as one that resists hierarchical domination and reflects divine relationality.

Perichoresis: The Divine Dance of Creation

In Christian theology, perichoresis describes the dynamic relationship between the three persons of the Trinity—Father, Son, and Holy Spirit—who exist and create in a state of mutual indwelling. Rather than existing in isolation, each person of the Trinity participates fully in the life of the others. This concept of mutuality and interpenetration resists hierarchical models of divine interaction and instead emphasizes the flow of love, unity, and reciprocity at the heart of God.

Ju?rgen Moltmann, in The Trinity and the Kingdom, emphasizes the relational nature of God, arguing that perichoresis points to the communal life of the Trinity as a model for human community and divine action in the world. Creation, from this perspective, is not a solitary act of a distant God but an expression of the eternal love and communion within the Godhead (Moltmann, 1981, p. 142). Miroslav Volf similarly builds on this idea in After Our Likeness, arguing that human relationships are meant to mirror this divine interpenetration, fostering unity without erasing individuality (Volf, 1998, p. 191).

When viewed through this theological lens, creation is not simply an exertion of divine power but a collaborative, relational act. This understanding of divine creativity aligns closely with the narrative structure of Tolkien’s Ainulindale?, where the creation of the world is accomplished not by Ilu?vatar alone but through the collaborative music of the Ainur.

The Ainulindale? as a Perichoretic Creation Myth

In The Silmarillion, the Ainulindale? recounts the creation of Middle-earth as a symphony conducted by Eru Ilu?vatar, with the Ainur contributing their voices to the music. This myth echoes and subverts traditional creation narratives in profound ways. Unlike the Genesis account, where God creates the world through spoken words, or the Enuma Elish, where creation is the result of divine combat, the Ainulindale? presents creation as a harmonious, communal act of music.

The Ainur, each with unique melodies, are invited by Ilu?vatar to participate in the creative process, contributing their distinct voices to a greater symphony. This mirrors the concept of perichoresis—each Ainur participates in the creative act without losing their individuality, yet their contributions are woven into the grand design of Ilu?vatar. The Ainur are not mere instruments but active participants, reflecting the Trinitarian model of mutual indwelling and shared creativity.

In contrast to hierarchical or conflict-driven creation myths like the Enuma Elish, where the god Marduk slays the primordial goddess Tiamat to create the world, Tolkien’s myth emphasizes unity, harmony, and relationality. Even Melkor, the rebellious Ainu who introduces discord into the music, is ultimately subsumed into the larger purpose of Ilu?vatar’s design. This reflects a key theme in perichoresis—even in diversity and difference, there is a deeper unity that reflects divine love and purpose.

Furthermore, the role of the Ainur in shaping the world after the initial act of creation highlights the participatory nature of creation. The Ainur descend into the newly formed world, becoming the Valar and Maiar, and continue to shape its history. This ongoing participation in creation parallels the Christian understanding that creation is not a static event but an ongoing, relational process in which humanity and the divine are continually involved.

Creation Myths in Comparison: Genesis, Enuma Elish, and Norse Mythology

By comparing Tolkien’s Ainulindale? to other creation myths, we can see both the echoes of traditional motifs and the unique ways in which Tolkien subverts them. The Genesis account of creation, for example, presents a God who creates through speech: "And God said, ‘Let there be light,’ and there was light" (Gen. 1:3). While this act of creation is powerful, it is unilateral—God speaks, and creation responds. In contrast, the Ainulindale? involves a more relational and participatory model of creation, where the Ainur collaborate with Ilu?vatar in the act of world-making.

Similarly, in the Enuma Elish, creation emerges out of conflict and violence. The god Marduk defeats Tiamat and uses her body to form the heavens and the earth. This myth reflects a worldview where creation is born out of struggle and domination, in stark contrast to the harmonious music of the Ainur. Tolkien’s Ainulindale?, with its emphasis on collaboration and harmony, subverts this narrative of conflict, offering instead a vision of creation rooted in relationality and shared purpose.

Norse mythology, particularly the Vo?luspa? from the Poetic Edda, offers yet another vision of creation, where the world is formed from the body of the giant Ymir, slain by the gods Odin, Vili, and Ve?. Like the Enuma Elish, this myth emphasizes the role of conflict and death in creation. In contrast, Tolkien’s myth is not born out of violence but out of creativity, where even dissonance is ultimately incorporated into a greater harmony.

The perichoretic nature of the Ainulindale?—where creation is a shared, relational act—sets it apart from these myths of hierarchical or violent creation. Tolkien’s myth, like the Christian doctrine of perichoresis, offers a model of creation where diversity and unity coexist in a dynamic and life-giving relationship.

Conclusion: Perichoresis as a Framework for Mythological Creation

In conclusion, by applying the theological concept of perichoresis to Tolkien’s Ainulindale?, we gain a deeper understanding of creation as a relational, participatory act. This framework allows us to see how Tolkien both echoes and subverts traditional creation myths, offering a vision of creation that is rooted in harmony, collaboration, and mutual indwelling. The Ainulindale? serves as a powerful mythological expression of perichoresis, where the divine dance of creation invites all of its participants—whether Ainur or humans—into a relationship of love, creativity, and shared purpose.

This relational approach to creation has significant theological implications for how we understand God, the world, and our place within it. As both Moltmann and Volf have argued, the doctrine of perichoresis challenges us to embrace a vision of community and creation that resists domination and hierarchy, instead fostering relationships of mutuality and co-creation. In Tolkien’s myth, as in Christian theology, creation is not a solitary act but a dance of divine love, where all are invited to participate in the ongoing work of shaping the world.

References

● ?Grave, Jay (2016). The Joy of the Lord is Your Strength: How Your Passions Can Serve God's Mission in the World" https://digitalcommons.luthersem.edu/dmin_theses/7 (accessed December 2024).

● ?Moltmann, J. (1981). The Trinity and the Kingdom of God: The Doctrine of God. Harper & Row.

● ?Rohr, R. (2016). The Divine Dance: The Trinity and Your Transformation. Whitaker House.

● ?Russell, Letty (1993). The Church in the Round. Westminster John Knox Press.

● ?Tolkien, J.R.R. (1977). The Silmarillion. George Allen & Unwin.

● ?Volf, M. (1998). After Our Likeness: The Church as the Image of the Trinity. Eerdmans.