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Elves, Evil, and Enframing: Tolkien and Heidegger on Art vs. Technology

Modern technology doesn’t hear the Song, and it teaches us not to hear it either.

We have a special treat for readers today. The following article was written by Eugene Terekhin, the man and the mind behind the publication Philosophy of Language.

Philologist, philosopher, translator, and author Eugene Terekhin explores in Philosophy of Language the secret literary theory behind the fantasy worlds of J.R.R. Tolkien, C.S. Lewis, and Owen Barfield who believed that when words are spoken aright, they invoke the invisible reality from behind the veil of the world. He is a voice of much needed wisdom in our day and age, when so much of true art is being eviscerated and trivialized.

He is the author of the following books and I have read three of his books and highly recommend them:

Eleven Hidden Gems in the Works of the Inklings: The Music of Iluvatar in the worlds of J.R.R. Tolkien, C.S. Lewis, and Owen Barfield

Forty-Four Mystical Insights Into the Books of J.R.R. Tolkien, C.S. Lewis, and Owen Barfield: Philosophy Behind the High Fantasy of the Inklings

and The New Exodus: Escaping One Man’s War

Eugene Terekhin’s Bookstore

We urge you to subscribe to Eugene’s insight-packed newsletter filled with the wisdom of the inklings, poets, philosophers, writers and great thinkers by clicking the button below:

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This article originally appeared on Philosophy of Languagehere. I’m sharing it with The BoldBrush Letter because in it, Eugene has explored an important topic, perhaps the most important topic for creative people.
Editor’s Note: In two days, this post will be locked and is available only to paid members because we don’t want this duplicate content on the open web in a way that might draw traffic away from Eugene’s original post. If you are not a BoldBrush paid subscriber, you can still read the entire post here.

The Post-Labor Utopia: Can AI Really Set Us Free?

Speaking of “The Machine” in On Fairy-Stories, Tolkien contrasts it with organic, sub-creative work of a true artist or storyteller.

By the [Machine] I intend all use of external plans or devices (apparatus) instead of development of the inherent inner powers or talents—or even the use of these talents with the corrupted motive of dominating: bulldozing the real world, or coercing other wills.

So, what is the Machine? It’s anything external I use to force my will upon the world. According to Tolkien, the Machine differs from Art (sub-creation) in that it arises from a desire to amplify self-will rather than from an attunement to the Music of Ilúvatar.

All true Art, which is the province of the Elves, proceeds from one’s inner alignment with the Great Music. The Elves first hear the Music and then express it through their Art. Their purpose is to attune to the Thought of Ilúvatar in all things and to pour this harmony into the world. In contrast, the purpose of the Machine-creator is to attune to self-will and devise ways to impose it upon the outer world.

Art is prayer springing from: “Thy will be done”; the Machine is anti-prayer springing from: “My will be done.” Art is internal; the Machine is external. In The Lord of the Rings, Tolkien insists that evil cannot be defeated by wielding the Power of the Ring.

You can make the Ring into an allegory of our own time, if you like: an allegory of the inevitable fate that waits for all attempts to defeat evil power by power. Letter 96to Christopher

When we use external means to defeat external means we amplify the external means. The Machine perpetuates the Machine. Power cannot defeat power. Paradise cannot be achieved through external means. Only the renunciation of power can overcome power. Art is the ultimate renunciation of external power and amplification of the internal power—the intrinsic power of Being.

That’s why the Art of the Elves is not technology. It may look like technology—Elvish ropes, robes, fials, boats, lembas bread, blades, ploughs, bows, harps, bowls, etc.—its purpose is not domination but the manifestation of the Great Music in the world. All Art taps into spiritual power and brings it into the physical realm, which is the ultimate triumph over evil.

The “products” of Art reveal the Music. That’s why the Elvish rope burns Gollum’s neck—he can’t bear the “sound” of the Great Music. That’s why all Elvish things ward off evil, not through external force but by the light they emanate. The “power” of Sting lies not in its external properties but in how much Divine light it carries.

Elvish tools—chisels, harps, hammers, bowls—are not technology in the conventional sense of the word but an organic part of the creative process. Elvish boats are carved with Elvish knives, each infused with a prayer to Elbereth. Elvish tools are not “external means” to bend reality to the Elvish will; they are an outer expression of their inner attunement to the Higher Will.

As Heidegger says in his essay The Question Concerning Technology, modern technology is not just an instrument — it’s a way of revealing (aletheia). It reveals how we view the world. It is a Gestell (enframing) — a rigid framework that configures our vision, causing us to see everything as a resource. Its purpose is to order and command nature, not to listen to its Song.

Modern technology doesn’t hear any Song, and it teaches us not to hear it either. It limits our perception of reality, reducing everything—including humans—to mere means to an end. After renouncing the nature of modern technology as a Gestell, Heidegger concludes,

Because the essence of technology is nothing technological, essential reflection upon technology and decisive confrontation with it must happen in a realm that is, on the one hand, akin to the essence of technology and, on the other, fundamentally different from it. Such a realm is art.

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By Eugene Terekhin

A place for the outlaws of poetry and the written word. One of the aims of Poetic Outlaws is to revive the Promethean fire of the dead poets and artists in an attempt, however futile, to elevate the modern soul out of the sludge of the status quo.

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