- -
- 100%
- +
Copyright
Published by HarperCollinsPublishers Ltd
77-85 Fulham Palace Road
Hammersmith, London W6 8JB
www.harpercollins.co.uk
Copyright © E. R. Eddison 1935
Jacket illustration by John Howe © HarperCollinsPublishers Ltd. 2014
E.R. Eddison asserts the moral right to be identified as the author of this work.
A catalogue copy of this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Source ISBN: 9780007578139
Ebook Edition © October 2014 ISBN: 9780007578146
Version: 2014-09-09
Dedication
WINIFRED GRACE EDDISON
To you, madonna mia,
and to my friend
EDWARD ABBE NILES
I dedicate this
Vision of Zimiamvia
Proper Names the reader will no doubt pronounce as he chooses. But perhaps, to please me, he will keep the i’s short in Zimiamvia and accent the third syllable: accent the second syllable in Zayana, give it a broad a (as in ‘Guiana’), and pronouce the ay in the first syllable – and the ai in Laimak – as in ‘aisle’: keep the g soft in Fingiswold: let Memison echo ‘denizen’ except for the m: accent the first syllable in Rerek and make it rhyme with ‘year’: remember that Fiorinda is an Italian name, Amaury, Amalie, and Beroald French, and Antiope, Zenianthe, and a good many others, Greek: last, regard the sz in Meszria as ornamental, and not be deterred from pronouncing it as plain ‘Mezria’.
Mère des souvenirs, maîtresse des maîtresses,
O toi, tous mes plaisrs! ô toi, tous mes devoirs!
Tu te rappelleras la beauté des caresses,
La douceur du foyer et le charme des soirs,
Mère des souvenirs, maîtresse des maîtresses!
Les soirs illuminés par l’ardeur du charbon,
Et les soirs au balcon, voilés de vapeurs roses.
Que ton sein m’était doux! que ton cœur m’était bon!
Nous avons dit souvent d’impérissables choses
Les soirs illuminés par l’ardeur du charbon.
Que les soleils sont beaux dans les chaudes soirées!
Que l’espace est profond! que le cœur est puissant!
En me penchant vers toi, reine des adorées,
Je croyais respirer le parfum de ton sang.
Que les soleils sont beaux dans les chaudes soirées!
La nuit s’épaississait ainsi qu’une cloison,
Et mes yeux dans le noir devinaient tes prunelles,
Et je buvais ton souffle, ô douceur, ô poison!
Et tes pieds s’endormaient dans mes mains fraternelles.
La nuit s’épaississait ainsi qu’une cloison.
Je sais l’art d’évoquer les minutes heureuses,
Et revis mon passé blotti dans tes genoux.
Car à quoi bon chercher tes beautés langoureuses
Ailleurs qu’en ton cher corps et qu’en ton cœur si doux?
Je sais l’art d’évoquer les minutes heureuses!
Ces serments, ces parfums, ces baisers infinis,
Renaîtront-ils d’un gouffre interdit à nos sondes,
Comme montent au ciel les soleils rajeunis
Après s’être lavés au fond des mers profondes?
– O serments! ô parfums! ô baisers infinis!
BAUDELAIRE
CONTENTS
Cover
Title Page
Copyright
Dedication
Epigraph
Foreword by Douglas E. Winter
THE OVERTURE
ZIMIAMVIA
I. A Spring Night in Mornagay
II. The Duke of Zayana
III. The Tables Set in Meszria
IV. Zimiamvian Dawn
V. The Vicar of Rerek
VI. Lord Lessingham’s Embassage
VII. A Night-Piece on Ambremerine
VIII. Sferra Cavallo
IX. The Ings of Lorkan
X. The Concordat of Ilkis
XI. Gabriel Flores
XII. Noble Kinsmen in Laimak
XIII. Queen Antiope
XIV. Dorian Mode: Full Close
XV. Rialmar Vindemiatrix
XVI. The Vicar and Barganax
XVII. The Ride to Kutarmish
XVIII. Rialmar in Starlight
XIX. Lightning Out of Fingiswold
XX. Thunder Over Rerek
XXI. Enn Freki Renna
XXII. Zimiamvian Night
NOTE
DRAMATIS PERSONAE
MAPS OF THE THREE KINGDOMS
ALSO BY E. R. EDDISON
ABOUT THE PUBLISHER
FOREWORD
BY DOUGLAS E. WINTER
‘Is this the dream? or was that?’
WORDS create worlds: storytelling is a kind of godhood, taking the imperfect day of language, moulding it in the writer’s own image and, with skill, breathing it to life. The task is a formidable one, and it is little wonder that most fiction is content with reinventing reality, safely sculpting what is known. And why not? Stories are for the most part entertainment, ephemeral, meant only for the moment. Few novels strive for life beyond their covers; few hold us in their dominion for years, fewer still for lifetimes. The words and the worlds of E. R. Eddison, which I first discovered more than twenty years ago, still intrigue me, uplift me, haunt me, today. I know that I am not alone.
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 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.
In a transcendent moment of The Worm Ouroboros, the Demonlords Juss and Brandoch Daha, searching desperately for their lost comrade-in-arms, Goldry Bluzco, ascend to the dizzying heights of Koshtra Pivrarcha. There, in the distance, they see paradise. Lord Juss speaks:
‘Thou and I, first of the children of men, now behold with living eyes the fabled land of Zimiamvia. Is that true, thinkest thou, which philosophers tell of that fortunate land: that no mortal foot may tread it, but the blessed souls do inhabit it of the dead that be departed, even they that were great upon earth and did great deeds when they were living, that scorned not earth and the delights and the glories thereof, and yet did justly and were not dastards nor yet oppressors?’
‘Who knoweth?’ answers Brandoch Daha. ‘Who shall say he knoweth?’
If anyone knows, it is Edward Lessingham. In the Overture to Mistress of Mistresses, we learn that old age has claimed him, his final hours watched over by a mysterious lover. Lord Juss’s question is repeated, and the reader – like Lessingham – is taken straightaway to Zimiamvia. This is neither the biblical paradise, nor that of classical mythology, but a mad poet’s dream of Northern Europe during the Renaissance. Zimiamvia is an imperfect heaven – what other kind could exist without boredom for its residents? – a Machiavellian playground for men and gods, where mystery and menace, romance and revenge, swordplay and soldiering are the natural order of things.
Three kingdoms comprise this otherworld – known, from north to south, as Fingiswold, Rerek and Meszria – and all are ruled by the wise, firm hand of King Mezentius. In Zimiamvia, Lessingham lives on, his earthly self a duality. His namesake, Lord of Rerek, is his Apollonian half – the embodiment of reason, logic, science. Lord Lessingham is cut from the same cloth as the Demon heroes of The Worm Ouroboros, a demigod and bravo, a man of action and of honour with but a single stain: kinship, and thus loyalty in blood, to Horius Parry, the ambitious Vicar in Rerek. Parry, in turn, is the scheming serpent of this enigmatic Eden, a villain extraordinaire whose instinct for treachery and terror – and for surviving to scheme again another day – is worthy of the most diabolical of devils.
Lessingham’s Dionysian qualities – magic, art, and madness – are found in Duke Barganax, bastard son of King Mezentius and his mistress Amalie, the Duchess of Memison. Barganax takes counsel in the aged yet ageless Doctor Vandermast, a mysterious Merlin who is given to spouting Spinoza and minding his lovely shapeshifting nymphs, Anthea and Campaspe. ‘My study,’ says Vandermast [in A Fish Dinner in Memison], ‘is now of the darkness rather which is hid in the secret heart of man: my office but only to understand, and to watch, and to wait.’
With the deaths of King Mezentius and his only legitimate son, Styllis – in which Parry’s perpetually bloody hand is suspect – the crown descends to the beautiful and doomed Queen Antiope, with whom, inevitably, Lord Lessingham will fall in love. The struggle for power, by wile and war and witchery, enwraps Zimiamvia in a web of passion and violence that is tangled by strange shifts of time.
‘Time,’ Eddison tells us, ‘is a curious business’, and in Zimiamvia it grows more and more curious. ‘Is this the dream?’ his characters ask, ‘or was that?’ [A Fish Dinner in Memison]. These tales are not simply written backwards, they defy most novelistic notions of time. 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.
Ten years: ten million years: ten minutes. One and the same, says Eddison, and in Zimiamvia we journey beyond the pure heroic adventure of The Worm Ouroboros into an existential-romantic quest, a speculation on the nature of woman and man, Goddess and God, reality and dream: ‘It was in that moment as if he looked through layer upon layer of dream, as though veil behind veil: the thinnest veil, natural present: the next, as if a dumb-show strangely presented by art magic’ [Mistress of Mistresses]. Eddison’s characters exist beyond time, beyond dimension, woven into a tapestry that circles and circles on itself, as abiding and eternal as its central image: the worm Ouroboros, that eateth its own tail.
‘If we were Gods, able to make worlds and unmake ’em as we list, what world would we have?’ [A Fish Dinner in Memison]. Here is the central dilemma of Zimiamvia: the nature and means of creation. Worlds within worlds, stories within stories, characters within characters, phantasms within phantasms – this is a majestic maze of mythmaking, a fiction that questions all assumptions of reality. Eddison thus proves more than a dreamer; like the very best writers of the fantastique, he saw this fiction of (im)possibilities as the truest mirror of our lives, one that shines back brightly the depths of the human spirit as well as the surfaces of the flesh.
Eddison’s prose is archaic and often difficult, an intentionally affected throwback to Elizabethan and Jacobean drama. His characters are thus eloquent but long-winded; they speak not of killing a man, but of ‘sending him from the shade into the house of darkness’ [The Worm Ouroboros]. In his finest moments, Eddison ascends to a sustained poetic beauty; listen, for example, to the haunting premonition of the renegade Goblin Gro:
‘For as I lay sleeping betwixt the strokes of night, a dream of the night stood by my bed and beheld me with a glance so fell that I was all adrad and quaking with fear. And it seemed to me that the dream smote the roof above my bed, and the roof opened and disclosed the outer dark, and in the dark travelled a bearded star, and the night was quick with fiery signs. And blood was on the roof, and great gouts of blood on the walls and on the cornice of my bed. And the dream screeched like the screech-owl, and cried, Witchland from thy hand, O King!’ [The Worm Ouroboros]
At other times the reader is virtually overwhelmed with words. Palaces and armoury were Eddison’s particular vices; he describes them with such ornate grandeur that page after page is lavished with their decoration. The reader should not be deterred by the density of such passages; like a vintage wine, a taste for Eddison’s prose is expensively acquired, demanding the reader’s patience and perseverance – and it is worthy of its price. These are books to be savoured, best read in the long dark hours of night, when the wind is against the windows and the shadows begin to walk – books not meant for the moment, but for forever.
The Zimiamvian trilogy inevitably has been compared with J. R. R. Tolkien’s Lord of the Rings, but apart from their narrative ambition and epic sweep, the books share little in common. (Eddison, like Tolkien, disclaimed the notion that he was writing something beyond mere story: ‘It is neither allegory nor fable but a Story to be read for its own sake’ [The Worm Ouroboros’ preface]. But as the reader will no doubt observe, he proves much less convincing.)
If comparisons are in order, then I suggest Eddison’s obvious influences – Homer and the Icelandic sagas – and that most controversial of Jacobean dramatists, John Webster, whose blood-spattered tales of violence and chaos (from which Eddison’s characters quote freely) saw him chastised for subverting orthodox society and religion. The shadow of Eddison may be seen, in turn, not only in the modern fiction of heroic fantasy, but also in the writings of his truest descendants, such dreamers of the dark fantastique as Stephen King (whose own epics, The Stand and The Dark Tower, read like paeans to Eddison) and Clive Barker (whose The Great and Secret Show called its chaotic forces the Iad Ouroboros).
Eddison would have found this line of succession, like the cyclical popularity of his books, the most natural order of events: the circle, ever turning – like the worm Ouroboros, that eateth its own tail – the symbol of eternity, where ‘the end is ever at the beginning and the beginning at the end for ever more’.
Welcome to that fabled paradise, Zimiamvia: Once you have entered these words, this world, you may never leave.
DOUGLAS E. WINTER
1991
in memory of Phil Grossfield
THE OVERTURE
THE UNSETTING SUNSET • AN UNKNOWN LADY BESIDE THE BIER • EASTER AT MARDALE GREEN • LESSINGHAM • LADY MARY LESSINGHAM • MEDITATION OF MORTALITY • APHRODITE OURANIA • A VISION OF ZIMIAMVIA • A PROMISE.
LET me gather my thoughts a little, sitting here alone with you for the last time, in this high western window of your castle that you built so many years ago, to overhang like a sea eagle’s eyrie the grey-walled waters of your Raftsund. We are fortunate, that this should have come about in the season of high summer, rather than on some troll-ridden night in the Arctic winter. At least, I am fortunate. For there is peace in these Arctic July nights, where the long sunset scarcely stoops beneath the horizon to kiss awake the long dawn. And on me, sitting in the deep embrasure upon your cushions of cloth of gold and your rugs of Samarkand that break the chill of the granite, something sheds peace, as those great sulphur-coloured lilies in your Ming vase shed their scent on the air. Peace; and power; indoors and out: the peace of the glassy surface of the sound with its strange midnight glory as of pale molten latoun or orichalc; and the peace of the waning moon unnaturally risen, large and pink-coloured, in the midst of the confused region betwixt sunset and sunrise, above the low slate-hued cloud-bank that fills the narrows far up the sound a little east of north, where the Trangstrómmen runs deep and still between mountain and shadowing mountain. That for power: and the Troldtinder, rearing their bare cliffs sheer from the further brink; and, away to the left of them, like pictures I have seen of your Ushba in the Caucasus, the tremendous two-eared Rulten, lifted up against the afterglow above a score of lesser spires and bastions: Rulten, that kept you and me hard at work for nineteen hours, climbing his paltry three thousand feet. Lord! And that was twenty-five years ago, when you were about the age I am today, an old man, by common reckoning; yet it taxed not me only in my prime but your own Swiss guides, to keep pace with you. The mountains; the unplumbed deeps of the Raftsund and its swinging tideways; the unearthly darkless Arctic summer night; and indoors, under the mingling of natural and artificial lights, of sunset and the windy candlelight of your seven-branched candlesticks of gold, the peace and the power of your face.
Your great Italian clock measures the silence with its ticking: ‘Another, gone! Another, gone! Another, gone!’ Commonly, I have grown to hate such tickings, hideous to an old man as the grinning memento mori at the feast. But now (perhaps the shock has deadened my feelings), I could almost cheat reason to believe there was in very truth eternity in these things: substance and everlasting life in what is more transient and unsubstantial than a mayfly, empirical, vainer than air, weak bubbles on the flux. You and your lordship here, I mean, and this castle of yours, more fantastic than Beckford’s Fonthill, and all your life that has vanished into the irrevocable past: a kind of nothingness. ‘Another, gone! Another, gone!’ Seconds, or years, or aeons of unnumbered time, what does it matter? I can well think that this hour just past of my sitting here in this silent room is as long a time, or as short, as those twenty-five years that have gone by since you and I first, on a night like this, stared at Lofotveggen across thirty miles of sea, as we rounded the Landegode and steered north into the open Westfirth.
I can see you now, if I shut my eyes; in memory I see you, staring at the Lynxfoot Wall: your kingdom to be, as I very well know you then resolved (and soon performed your resolve): that hundred miles of ridge and peak and precipice, of mountains of Alpine stature and seeming, but sunk to the neck in the Atlantic stream and so turned to islands of an unwonted fierceness, close set, so that seen from afar no breach appears nor sea-way betwixt them. So sharp cut was their outline that night, and so unimaginably nicked and jagged, against the rosy radiance to the north which was sunset and sunrise in one, that for the moment they seemed feigned mountains cut out of smoky crystal and set up against a painted sky. For a moment only; for there was the talking of the waves under our bows, and the wind in our faces, and, as time went by with still that unaltering scene before us, every now and again the flight and wild cry of a black-backed gull, to remind us that this was salt sea and open air and land ahead. And yet it was hard then to conceive that here was real land, with the common things of life and houses of men, under that bower of light where the mutations of night and day seemed to have been miraculously slowed down; as if nature had fallen entranced with her own beauty mirrored in that sheen of primrose light. Vividly, as it had been but a minute since instead of a quarter of a century, I see you standing beside me at the taffrail, with that light upon your lean and weather-beaten face, staring north with a proud, alert, and piercing look, the whole frame and posture of you alive with action and resolution and command. And I can hear the very accent of your voice in the only two things you said in all that four hours’ crossing: first, ‘The sea-board of Demonland.’ Then, an hour later, I should think, very low and dream-like, ‘This is the first sip of Eternity.’