One of the very interesting aspects of this short chapter is the interaction between Yavanna and Manwë:
Quote:
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Then Manwë sat silent, and the thought of Yavanna that she had put into his heart grew and unfolded; and it was beheld by Ilúvatar. Then it seemed to Manwë that the Song rose once more about him, and he heeded now many things therein that though he had heard them he had not heeded before. And at last the Vision was renewed, but it was not now remote, for he was himself within it, and yet he saw that all was upheld by the hand of Ilúvatar; and the hand entered in, and from it came forth many wonders that had until then been hidden from him in the hearts of the Ainur.
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Here we have the nature-goddess figure inspiring the prime male authority among the Ainur. It is Yavanna who puts the thought into Manwë's heart where Ilúvatar then beholds it. And what does it mean that now, for the first time, Manwë is not remote from the Vision, just observing it, but is now a part of it? Is this an observation on the traditional dichotomy of objectivity and subjectivity? Until this point, Manwë did not have omniscient access to the thought of his fellow Ainur. Is this the "female" principle of subjectivity being granted full and proper place in whole or complete wisdom--something greater than mere knowledge?
As for the dwarves being or not being part of the Music, we are told that
the forms of the Children who were to come were unclear to his mind. So here we have two male figures whose thoughts were incomplete. In Aulë's case, because he did not confide in his help-mate, his Vision is not made whole as is that of Manwë?