First published in 1922. The book describes the protracted war between the domineering King Gorice of Witchland and the Lords of Demonland in an imaginary world that appears mainly medieval and partly reminiscent of Norse sagas. THE WORM OUROBOROS, no worm, but the Serpent itself, is a wonderful book. As a story or as prose it is wonderful, and, there being a cause for every effect, the reason for writing it should be as marvelous again. Shelley had to write the Prometheus Unbound, he was under compulsion; for a superhuman energy had come upon him, and he was forced to create a matter that would permit him to imagine, and think, and speak like a god. It was so with Blake, who willed to appear as a man but existed like a mountain; and, at their best, the work of these poets is inhuman and sacred. It does not greatly matter that they had or had not a message. It does not matter at all that either can be charged with nonsense or that both have been called madmen -- the same charge might be laid against a volcano or a thunderbolt -- or this book. It does not matter that they could transcend human endurance, and could move tranquilly in realms where lightning is the norm of speed. The work of such poets is sacred because it outpaces man, and, in a realm of their own, wins even above Shakespeare.
First published in 1922. The book describes the protracted war between the domineering King Gorice of Witchland and the Lords of Demonland in an imaginary world that appears mainly medieval and partly reminiscent of Norse sagas. THE WORM OUROBOROS, no worm, but the Serpent itself, is a wonderful book. As a story or as prose it is wonderful, and, there being a cause for every effect, the reason for writing it should be as marvelous again. Shelley had to write the Prometheus Unbound, he was under compulsion; for a superhuman energy had come upon him, and he was forced to create a matter that would permit him to imagine, and think, and speak like a god. It was so with Blake, who willed to appear as a man but existed like a mountain; and, at their best, the work of these poets is inhuman and sacred. It does not greatly matter that they had or had not a message. It does not matter at all that either can be charged with nonsense or that both have been called madmen -- the same charge might be laid against a volcano or a thunderbolt -- or this book. It does not matter that they could transcend human endurance, and could move tranquilly in realms where lightning is the norm of speed. The work of such poets is sacred because it outpaces man, and, in a realm of their own, wins even above Shakespeare.
Über den Autor
Eric Rücker Eddison (1882 - 1945) was an English civil servant and author, writing epic fantasy novels under the name E. R. Eddison. His notable works include The Worm Ouroboros (1922) and the Zimiamvian Trilogy (1935-1958). Eddison's early works of high fantasy drew strong praise from J. R. R. Tolkien and C. S. Lewis. Tolkien generally approved Eddison's literary style, but found the underlying philosophy rebarbative; while Eddison in turn thought Tolkien's views "soft". Eddison's books are written in a meticulously recreated Jacobean prose style, seeded throughout with fragments, often acknowledged but often directly copied from his favorite authors and genres: Homer and Sappho, Shakespeare and Webster, Norse sagas and French medieval lyric poems. Critic Andy Sawyer has noted that such fragments seem to arise naturally from the "barbarically sophisticated" worlds Eddison has created.
