Yet another question

Tim wrote:

> I've been pretty impressed by the responses my other questions have
> received, so let me ask another. I don't think there is a definitive answer
> to this, but I'm interested to know what you think. There were three
> themes in the Music of Ainur. What were they, was each a separate creative
> act, or were they each (as I believe) revisions of the previous. Why were
> three necessary?

I don't think Tolkien was proficient enough in theology to construct a
detailed model that would explain why the number of themes would
optimally be three, and not two or four. (Along the lines of why are
there three neutrinos, and not four) However, I think the conventional
interpretation of the themes is that the first one sets the basic stage
of the "drama", the second theme corresponds to the resistance that the
Valar offer against Melkor's attempts at mastery, and the third theme
introduces the Children of Iluvatar. It may be noted that the Melkor's
aggression isn't ultimately successful in quenching the third theme,
which is probably Tolkien's way of placing an optimistic outlook to the
future of the World.

Since the second and third themes are both sort of reactions Iluvatar
offers to Melkor's theme, it could perhaps be inferred (from here, and
from "Athrabeth") that the function of the Eruhini might be to
ultimately confound the work of Morgoth.

-JJ
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