Koshtra Pivrarcha
XVI. The Lady Sriva’s Embassage
XVII. The King Flies His Haggard
XVIII. The Murther of Gallandus by Corsus
XXI. The Parley Before Krothering
XXIII. The Weird Begun of Ishnain Nemartra
XXV. Lord Gro and the Lady Mevrian
XXVI. The Battle of Krothering Side
XXVII. The Second Expedition to Impland
XXVIII. Zora Rach Nam Psarrion
XXXII. The Latter End of All the Lords of Witchland
XXXIII. Queen Sophonisba in Galing
BIBLIOGRAPHICAL NOTES ON THE VERSES
‘The Worm Ouroboros, that eateth its own tail …’
I FIRST read these words more than twenty years ago. They seemed magical, an invocation of something locked deep inside me – something dark and dangerous, and yet desperately alive. They intrigue me, uplift me, haunt me, even today; and I introduce them to you with the anxious delight of a child who wishes to share a special secret. You hold in your hands the best single novel of fantasy ever written in the English language.
Eric Rücker Eddison (1882–1945) was a civil servant at the British Board of Trade, sometime Icelandic scholar, devotee of Homer and Sappho, and mountaineer. Although by all accounts a bowler-hatted and proper English gentleman, Eddison was an unmitigated dreamer who, in occasional spare hours over some thirty years, put his dreams to paper. In 1922, just before his fortieth birthday, a small collector’s edition of The Worm Ouroboros was published; larger printings soon followed in both England and America, and a legend of sorts was born. The book was a dark and blood-red jewel of wonder, equal parts spectacle and fantasia, labyrinthine in its intrigue, outlandish in its violence. It was also Mr Eddison’s first novel.
After writing an adventure set in the Viking age, Styrbiorn the Strong (1926), and a translation of Egil’s Saga (1930), Eddison devoted the remainder of his life to the fantastique in a series of novels set, for the most part, in Zimiamvia, the fabled paradise of The Worm Ouroboros. The Zimiamvian books were, in Eddison’s words, ‘written backwards’, and thus published in reverse chronological order of events: Mistress of Mistresses (1935), A Fish Dinner in Memison (1941), and The Mezentian Gate (1958). (The final book was incomplete when Eddison died, but his notes were so thorough that his brother, Colin Eddison, and his friend George R. Hamilton were able to assemble the book for publication.) Although the books are known today as a trilogy, Eddison wrote them as an open-ended series; they may be read and enjoyed alone or in any sequence. Each is a metaphysical adventure, an intricate Chinese puzzle box whose twists and turns reveal ever-encircling vistas of delight and dread.
Eddison’s four great fantasies are linked by the enigmatic character of Edward Lessingham – country gentleman, soldier, statesman, artist, writer, and lover, among other talents – and his Munchausen-like adventures in space … and time. Although he disappears after the early pages of The Worm Ouroboros, Lessingham is central to the books that follow. ‘God knows,’ he tells us, ‘I have dreamed and waked and dreamed till I know not well which is dream and which is true.’ One of the pleasures of reading Eddison is that we, too, are never certain. Perhaps Lessingham is a man of our world; perhaps he is a god; perhaps he is only a dream … or a dream within a dream. And perhaps, just perhaps, he is all of these things, and more.
Eddison was exceptional in his embrace of the fantastique; in his fiction there are no logical imperatives, no concessions to cause and effect, only the elegant truths of the higher calling of myth. Characters traverse distances and decades in the blink of an eye; worlds take shape, spawn life, evolve through billions of years, and are destroyed, all during a dinner of fish. These are dreams made flesh by a dreamer extraordinaire.
‘There was a man named Lessingham dwelt in an old low house in Wastdale …’ Thus The Worm Ouroboros introduces Lessingham and his lady, Mary, the first glimpse of the tragic romance that will haunt the Zimiamvian novels. Lessingham retires, alone, to the mysterious Lotus Room, a place of contemplation and opiate calm – there to sleep, perchance to dream. ‘Time is,’ speaks a little black bird, and a shining chariot, drawn by a hippogriff, arrives to fetch Lessingham to Mercury. His destination is not the first planet from the sun, but a medieval Norseman’s nightmare of our own Earth, ‘all grey and cold, the warm colours burnt to ashes’, save one: the crimson of blood. It is a grim world, peopled by Demons and Witches, Imps and Pixies, Goblins and Ghouls – all of them human, and all of them at war. Swordplay and sorcery and Machiavellian intrigue are the order of the day; vengeance and feuds, betrayal and bloodletting, as common as the dawn.
The heroes of this majestic Romance are the Demons, ruled and captained by the three brothers – Lords Juss and Spitfire and Goldry Bluszco – and their cousin Brandoch Daha. Valiant in war, courtly in speech and stance, these are heroes in the classical sense, superhuman, violent, passionately alive, with the ferocious good looks and fate of fallen angels; if there is a single certainty, it is that those who befriend them will die. The Demonlords are demigods who struggle for a kind of savage nobility, forever pursuing a sentimental, romantic code that places word before deed, death before dishonour. Their trials are many, and painted brightly with blood.
Arrayed