The Worm Ouroboros by E. R. Eddison (nonfiction book recommendations TXT) π
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The Worm Ouroboros is considered to be one of the foundational texts of the high fantasy genre, influencing later authors like J. R. R. Tolkien, C. S. Lewis, Ursula K. Leguin, and James Branch Cabell. It is most frequently compared to The Lord of the Rings in its epic scope set against a medieval, magic-laced backdropβa world called βMiddle Earthβ by Eddison, thirty-two years before Tolkienβsβand in its almost mythical portrayal of larger-than-life heroes and villains.
The plot begins simply enough: The Lords of Demonland, a group of heroic warriors enjoying a strained peace, are called upon by an emissary of the warlock king of Witchland, Gorice XI. The emissary demands that Demonland submit to the King of Witchlandβbut the proud Demons refuse, setting off an epic war that spans their entire world. The heroic struggles of the Demons and their allies against the Witches reflect the circular nature of human history: the snake eating its own tail of the title.
The novel is written in a purposefully archaic, almost Jacobean style. The rich, surprising vocabulary and unusual spelling are testaments to Eddisonβs expertise at reading and translating medieval-era texts. To this day, it remains perhaps unique in fantasy literature in the accuracy and precision of its highly affected prose style, perhaps matched only by the out-of-time strangeness of the prose in Hodgsonβs The Night Land. But where critics often find The Night Landβs prose obtuse and difficult, they have nothing but praise for Eddisonβs beautiful, quotable style.
Eddison had already imagined the story and its heroes as a child, and drawings he made as a youth of events in the book are preserved in the Bodleian library. While the novel is without a doubt the work of a mature and skilled writer, and while some of the events and characters are portrayed differently in the novel than they were in his youthful sketches, the names of many of the characters and places remain unchanged. Some of his contemporaries, like Tolkien, wondered about the strange naming style; others criticized it as taking away from the more serious subject matter.
The Worm Ouroboros remains one of the most influential works in the high fantasy genre to this day, and traces of the foundation it laid can be still be found in genre books a century after its publication.
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- Author: E. R. Eddison
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Therewith hastened the Kagu into the shadowy hall, moving softly and rolling a little in her gait, with her head thrust forward; and a little flurried was she in her bearing as she darted this way and that her large and beautiful eyes, mild and timid, that were like liquid gold heated to redness. Somewhat like a heron she was, but stouter, and shorter of leg, and her beak shorter and thicker than the heronβs; and so long and delicate was her pale gray plumage that hard it was to say whether it were hair or feathers. So the wind instruments and the lutes and dulcimers played a Coranto, and the Kagu tripped up the hall betwixt the long tables, jumping a little and bowing a little in her step and keeping excellent time to the music; and when she came near to the dais where the Red Foliot sat ravished with delight at her dancing, the Kagu lengthened her step and glided smoothly and slowly forward toward the Red Foliot; and so gliding she drew herself up in stately wise and opened her mouth and drew back her head till her beak lay tight against her breast, flouncing out her feathers so that they showed like a widecut skirt with a crinoline, and the crest that was on her head rose up erect half again her own height from the ground, and she sailed majestically toward the Red Foliot. On this wise did the Kagu at every turn that she took in the Coranto, forth and back along the length of the Foliotsβ hall. And they all laughed sweetly at her, being overjoyed at her dancing. When the dance was done, the Red Foliot called the Kagu to him and made her sit on the bench beside him, and stroked her soft gray feathers and made much of her. All bashfully she sat beside the Red Foliot, casting her ruby eyes in wonder upon the Witches and their company.
Next the Red Foliot called for his Cat-bears, that stood before him foxy-red above but with black bellies, round furry faces, and innocent amber eyes, and soft great paws, and tails barred alternately with ruddy rings and creamy; and he said, βO Cat-bears, dance before us, since dearly we delight in your dancing.β
They asked, βLord, will you that we perform the Gigue?β
And he answered them, βThe Gigue, and ye love me.β
So the stringed instruments began a swift movement, and the tambourines and triangles entered on the beat, and swiftly twinkled the feet of the Cat-bears in the joyous dance. The music rippled and ran and the dancers danced till the hall was awhirl with the rhythm of their dancing, and the Witches roared applause. On a sudden the music ceased, and the dancers were still, and standing side by side, paw in furry paw, they bowed shyly to the company, and the Red Foliot called them to him and kissed them on the mouth and sent them to their seats, that they might rest and view the dances that were to follow.
Next the Red Foliot called for his white Peacocks, coloured like moonlight, that they might lead the Pavane before the lords of Witchland. In glorious wise did they spread their tails for the stately dance, and a fair and lovely sight it was to see their grace and the grandeur of their carriage as they moved to the music chaste and noble. With them were joined the Golden Pheasants, who spread wide their collars of gold, and the Silver Pheasants, and the Peacock Pheasants, and the Estridges, and the Bustards, footing it in pomp, pointing the toes, and bowing and retiring in due time to the solemn strains of the Pavane. Every instrument took part in the stately Pavane: the lutes and the dulcimers, and the theorbos, and the sackbuts, and the hautboys; the flutes sweetly warbling as birds in the upper air, and the silver trumpets, and the horns that breathed deep melodies trembling with mystery and tenderness that shakes the heart; and the drum that beateth to battle, and the wild throb of the harp, and the cymbals clashing as the clash of armies. And a nightingale sitting by the Red Foliot sang the Pavane in passionate tones that dissolved the soul in their sweet, mournful beauty.
The Lord Gro covered his face with his mantle and wept to hear and behold the divine Pavane; for as ghosts rearisen it raised up for him old happy half-forgotten days in Goblinland, before he had conspired against King Gaslark and been driven forth from his dear native land, an exile in waterish Witchland.
Thereafter let the Red Foliot give order for the Galliard. Joyously swept forth the melody from the stringed instruments, and two dormice, fat as butter, spun into the hall. Wilder whirled the music, and the dormice capered ever higher till they bounded from the floor up to the beams of the vaulted roof, and down again, and up again to the roof-beams in the joyful dance. And the Foliots joined in the Galliard, spinning and capering in mad delight of the dance. And into the hall twirled six capripeds, footing it lightly as the music swept ever faster, and a one-footer that leaped hither and thither about and about, as the flea hoppeth, till the Witches grew hoarse with singing and shouting and hounding of him on. Yet ever capered the dormice higher and wilder than any else, and so swiftly flashed their little feet to the galloping music that no eye might follow their motion.
But little enow was Lord Gro gladdened by the merry dance. Sad melancholy sat with him for his companion, darkening his thoughts and making joy hateful to him as sunshine to owls of the night. So that he was well pleased to mark the Red Foliot go softly from his seat on the dais and forth from the hall by a door behind the arras,
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