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Once the Music was complete, including Melkor's interwoven themes of vanity, Ilúvatar gave the Ainur a choice-to dwell with him, or to enter the world that they had mutually created. Melkor, however, added discordant themes: he strove against the Music his themes became evil because they sprang from selfishness and vanity, not from the enlightenment of Ilúvatar.
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The themes of Ilúvatar's music were elaborated, and each of the Ainur added harmonious creative touches. Instead, each elaborated individual themes, singing of mountains and subterranean regions, say, from themes for metals and stones. No one Ainu understood all of the themes that sprang from Ilúvatar. This World, fashioned from his ideas and expressed as the Music of Ilúvatar, was refined by thoughtful interpretations by the Ainur, who then created their own themes based on each unique comprehension.
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Their role in providing what the characters on Middle-earth experience as luck or providence is also discussed.Įru Ilúvatar first revealed to the Ainur his great vision of The World through musical themes, unfolding a history whose vastness and majesty had never been equalled, as described in Ainulindalë, "The Music of the Ainur". Scholars have noted that the Valar resemble angels in Christianity, but that Tolkien presented them rather more like pagan gods. The Valar are mentioned briefly in The Lord of the Rings, but were developed earlier in material published posthumously in The Silmarillion and The History of Middle-earth. The Valaquenta indicates that the Elves generally reserved the term "Valar" for the mightiest of these, calling the others the Maiar. The Ainulindalë describes how those of the Ainur who chose to enter the World ( Arda) to complete its material development after its form was determined by the Music of the Ainur are called the Valar, or "the Powers of the World". They are "angelic powers" or "gods" subordinate to the one God ( Eru Ilúvatar). The Valar ( singular Vala) are characters in J. For the venture fund, see Valar Ventures.