BAF 00 - Mezentian Gate, page 1
part #0 of Ballantine Adult Fantasy Series
15-06-2024
THE WORM OUROBOROS
MISTRESS OF MISTRESSES
A FISH DINNER IN MEMISON and now
THE MEZENTIAN GATE
“It is very rarely that a middle-aged man finds an author who gives him, what he knew so often in his teens and twenties, the sense of having opened a door. One had thought those days were past. Eddison’s heroic romances disproved it. Here was a new literary species, a new rhetoric, a new climate of the imagination.
Its effect is not evanescent, for the whole life and strength of a singularly massive and consistent personality lies behind it. Still less, however, is it mere self-expression. In a word, these books are works, first and foremost, of art. And they are irreplaceable. Nowhere else shall we meet this precise blend of hardness and luxury, of lawless speculation and sharply realised detail, of the cynical and the magnanimous.”
—C. S. Lewis
The Mezentian
Gate
By E. R. EDDISON
The frontispiece and the decorations by
Keith Henderson
BALLANTINE BOOKS • NEW YORK
Copyright © 1958 by Mrs. E. R. Eddison
First American Printing: April, 1969
Printed in the United States of America.
BALLANTINE BOOKS, INC.
101 Fifth Avenue, New York, N.Y. 10003
W. G. E.
TO YOU, MADONNA MIA, and to
MY MOTHER and to my friends
JOHN AND ALICE REYNOLDS and to
HARRY PIRIE-GORDON
a fellow explorer in whom (as in Lessingham)
I find that rare mixture of man of action and connoisseur of strangeness and beauty in their protean manifestations, who laughs where I laugh and likes the salt that I like, and to whom I owe my acquaintance (through the
Orkneyinga Saga) with the earthly ancestress of my Lady Rosma Parry
I DEDICATE THIS BOOK
Let me not to the marriage of true mindes
Admit impediments, love is not love
Which alters when it alteration findes,
Or bends with the remover to remove:
O no, it is an ever fixed marke
That lookes on tempests, and is never shaken;
It is the star to every wandring barke,
Whose worths unknowne, although his higth be taken.
Love’s not Times foole, though rosie lips and cheeks
Within his bending sickles compasse come,
Love alters not with his breefe houres and weekes,
But beares it out even to the edge of doome:
If this be error, and upon me proved,
I never writ, nor no man ever loved.
Shakespeare
And ride in triumph through Persepolis!
Is it not brave to be a King, Techelles?
Usumcasane and Theridamus,
Is it not passing brave to be a King,
And ride in triumph through Persepolis?
Marlowe
I cannot conceive any beginning of such love as I have
for you but Beauty. There may be a sort of love for
which, without the least sneer at it, I have the highest
respect and can admire it in others: but it has not the
richness, the bloom, the full form, the enchantment of
love after my own heart.
Keats
PREFATORY NOTE
My brother Eric died on 18 August 1945. He had written the following note in November 1944:
“Of this book, the mezentian gate, the opening chapters (including the Praeludium) and the final hundred pages or so which form the climax are now completed. Two thirds of it are yet to write. The following Argument with Dates summarizes in broad outline the subject matter of these unwritten chapters. The dates are Anno Zayanae Conditae: from the founding of the city of Zayana.
The book at this stage is thus a full-length portrait in oils of which the face has been painted in but the rest of the picture no more than roughly sketched in charcoal. As such, it has enough unity and finality to stand as something more than a fragment. Indeed it seems to me, even in its present state, to contain my best work.
If through misfortune I were to be prevented from finishing this book, I should wish it to be published as it stands, together with the Argument to represent the unwritten parts.
E. R. E.
7th November, 1944.”
Between November 1943 and August 1945 two further chapters, 28 and 29, were completed in draft and take their place in the text (pages 123-52).
A letter written in January 1945 indicates that in the writing of Books II to V my brother might perhaps have “unloaded” some of the detail comprised in the Argument with Dates. In substance, however, there can be no doubt that he would have followed the argument closely.
My brother had it in mind to use a photograph of the El Greco painting of which he writes at the end of his letter of introduction. I am sure that he would have preferred and welcomed the drawing by Keith Henderson which appears as a frontispiece. The photograph has been used, by courtesy of the Hispanic Society of America, as a basis for the drawing.
We are deeply grateful to my brother’s old friend Sir George Rostrevor Hamilton for his unstinted help and counsel in the preparation of the mezentian gate for publication. We also warmly appreciate the generous assistance given by Sir Francis Meynell in designing the form and typographical layout for the book. The maps were originally prepared by the late Gerald Hayes for the other volumes of the trilogy of which the mezentian gate is a part.
C. R. E.
Contents
PREFATORY NOTE - Letter of Introduction
Praeludium - Lessingham on the Raftsund
Book I: Foundations
1 : Foundations in Rerek
2 : Foundations in Fingiswoid
3 : Nigra Sylva, where the ‘Devils Dance
4 : The Bolted Thors
5 : Princess Marescia
6 : Prospect North from Argyanna
Book II: Uprising of King Mezentius
7 : Zeus Terpsikeraunos
8 : The Prince Protector
9 : Lady Rosma in Acrozayana
10 : Stirring of the Sunienides
11 : Commodity of Nephews
12 : Another Fair Moonshiny Night
Book III: The Affair of Rerek
13 : The Devil’s Quilted Anvil
14 : Lord Emmius Parry
Book IV: The Affair of Meszria
15 :Queen Rosma
16 : Lady of Presence
17 : Akkama brought into Dowry
18 : The She-Wolf tamed to Hand
19 :The Duchess of Memison
Book. V: The Triple Kingdom
20 : Dura Papilla Lupae
21 : Anguring Combust
22 : Pax Mezentiana
23 :The Two Dukes
24 : Prince Valero
25 : Lornra Zombremar
26 : Rebellion in the Marches
27 : Third War with Akkama
Book. VI: La Rose Noire
28 : Anadyomene
29 : Astarte
30 : Laughter-loviting Aphrodite
31 : The Beast of Laimak
32 : Then, gentle Cheater
33 : Aphrodite Helikoblepharos
Book VII: To Know or Not to Know
34 : The Fish Dinner: First Digestion
35 : Diet a Qause
36 : Rosa Mundorum
37 : Testament of Energeia
38 : Call of the Night-Raven
39 : Omega and Alpha in Sestola
Genealogical Tables
MAP OF THE THREE KINGDOMS
Letter of Introduction
TO MY BROTHER COLIN
dear brother: Not by design, but because it so developed, my Zimiamvian trilogy has been written backwards. Mistress of Mistresses, the first of these books, deals with the two years beginning “ten months after the death, in the fifty-fourth year of his age, in his island fortress of Sestola in Meszria, of the great King Mezentius, tyrant of Fingiswold, Meszria, and Rerek.” A Fish Dinner in Memison, the second book, belongs in its Zimiamvian parts to a period of five weeks ending nearly a year before the King’s death. This third book, The Mezentian Gate, begins twenty years before the King was born, and ends with his death. Each of the three is a drama complete in itself; but, read together (beginning with The Mezentian Gate, and ending with Mistress of Mistresses), they give a consecutive history, covering more than seventy years in a special world devised for Her Lover by Aphrodite, for whom (as the reader must suspend unbelief and suppose) all worlds are made.
The trilogy will, as I now foresee, turn to a tetralogy; and the tetralogy probably then (as an oak puts on girth and height with the years) lead to further growth. For, certain as it is that the treatment of the theme comes short of what I would, the theme itself is inexhaustible. Clearly so, if we sum it in the words of a philosopher who is besides (as few philosophers are) a poet in bent of mind and a master of art, George Santayana: “The divine beauty is evident, fugitive, impalpable, and homeless in a world of material fact; yet it is unmistakably individual and sufficient unto itself, and although perhaps soon eclipsed is never really extinguished: for it visits time and belongs to eternity.” Those words I chanced upon while I was writing the Fish Dinner, and liked the more because they came as a catalyst to crystallize thoughts that had long been in suspension in my mind.
In this world of Zimi
A very unearthly character of Zimiamvia lies in the fact that nobody wants to change it. Nobody, that is to say, apart from a few weak natures who fail on their probation and (as, in your belief and mine, all ultimate evil must) put off at last even their illusory semblance of being, and fall away to the limbo of nothingness. Zimiamvia is, in this, like the sagatime; there is no malaise of the soul. In that world, well fitted to their faculties and dispositions, men and women of all estates enjoy beatitude in the Aristotelian sense of (activity according to their highest virtue). Gabriel Flores, for instance, has no ambition to be Vicar of Rerek: it suffices his lust for power that he serves a master who commands his dog-like devotion.
It may be thought that such dark and predatory personages as the Vicar, or his uncle Lord Emmius Parry, or Emmius’s daughter Rosma, are strangely accommodated in these meads of asphodel where Beauty’s self, in warm actuality of flesh and blood, reigns as Mistress. But the answer surely is (and it is an old answer) that “God’s adversaries are some way his owne.” This ownness is easier to accept and credit in an ideal world like Zimiamvia
Letter of Introduction xiii than in our training-ground or testing-place where womanish and fearful mankind, individually so often gallant and lovable, in the mass so foolish and unremarkable, mysteriously inhabit, labouring through bog that takes us to the knees, yet sometimes momentarily giving an eye to the lone splendour of the stars. When lions, eagles, and she-wolves are let loose among such weak sheep as for the most part we be, we rightly, for sake of our continuance, attend rather to their claws, maws, and talons than stay to contemplate their magnificences. We forget, in our necessity lest our flesh become their meat, that they too, ideally and sub specie aeternitaiis, have their places (higher or lower in proportion to their integrity and to the mere consciencelessness and purity of their mischief) in the hierarchy of true values. This world of ours, we may reasonably hold, is no place for them, and they no fit citizens for it; but a tedious life, surely, in the heavenly mansions, and small scope for Omnipotence to stretch its powers, were all such great eminent self-pleasuring tyrants to be banned from “yonder starry gallery” and lodged in “the cursed dungeon.”
The Mezentian Gate, last in order of composition, is by that very fact first in order of ripeness. It in no respect supersedes or amends the earlier books, but does I think illuminate them. Mistress of Mistresses, leaving unexplored the relations between that other world and our present here and now, led to the writing of the Fish Dinner; which book in turn, at its climax, raised the question whether what took place at that singular supper party may not have had yet vaster and more cosmic reactions, quite overshadowing those affecting the fate of this planet. I was besides, by then, fallen in love with Zimiamvia and my persons; and love has a searching curiosity which can never be wholly satisfied (and well that it cannot, or mankind might die of boredom). Also I wanted to find out how it came that the great King, while still at the height of his powers, met his death in Sestola; and why, so leaving the Three Kingdoms, he left them in a mess. These riddles begot The Mezentian Gate.
With our current distractions, political, social and economic, this story (in common with its predecessors) is as utterly unconcerned as it is with Stock Exchange procedure, the technicalities of aerodynamics, or the Theory of Vectors. Nor is it an allegory. Allegory, if its persons have life, is a prostitution of their personalities, forcing them for an end other than their own. If they have not life, it is but a dressing up of argument in a puppetry of frigid-make-believe. To me, the persons are the argument. And for the argument I am not fool enough to claim responsibility; for, stripped to its essentials, it is a great eternal commonplace, beside which, I am sometimes apt to think, nothing else really matters.
The book, then, is a serious book: not a fairy-story, and not a book for babes and sucklings; but (it needs not to tell you, who know my temper) not solemn. For is not Aphrodite —“laughter-loving”? But She is also —“an awful” Goddess. And She is —“with flickering eyelids,” and —“honey-sweet”; and She is Goddess of Love, which itself is —“Bitter-sweet, an unmanageable Laidly Worm”: as Barganax knows. These attributes are no modern inventions of mine: they stand on evidence of Homer and of Sappho, great poets. And in what great poets tell us about the Gods there is always a vein of truth. There is an aphorism of my learned Doctor Vandermast’s (a particular friend of yours), which he took from Spinoza: Per realitatem et perfectionem idem intelligo: “By Reality and Perfection I understand the same thing.” And Keats says, in a letter: “Axioms in philosophy are not axioms until they are proved upon our pulses.”
Fiorinda I met, and studied, more than fifteen years ago: not by any means her entire self, but a good enough shadow to help me to set down, in Mistress of Mistresses and these two later books, the quality and play of her features, her voice, and her bearing. The miniature, a photograph of which appears as frontispiece,* belongs to the Hispanic Society of America, New York: it was painted circa 1596 by El Greco, from a sitter who has not, so far as I know, been identified.
*Now used, by courtesy of the Hispanic Society of America, as a basis for the drawing which appears as a frontispiece.
But I think it was painted also in Memison: early July, a.z c. 775, of Fiorinda (aet. 19), in her state, as lady of honour: the first of Barganax’s many portraits of her. A comparison with Mistress of Mistresses (Chapter II especially, and—for the eyes—last paragraph but one in Chapter VIII) shows close correspondence between this El Greco miniature and discriptions of Fiorinda written and published more than ten years before I first became acquainted with it (which was late in 1944): so close as to make me hope the photograph may quicken the reader’s imagination as it does mine. I record here my acknowledgements and thanks to the Hispanic Society of America for generously giving me permission to reproduce the photograph.
So here is my book: call it novel if you like: poem if you prefer. Under whatever label—
I limb’d this night-peece and it was my best.
Your loving brother,
E. R. E.
Dark Lane, Marlborough, Wiltshire.
