Micheal
Moorcock was a young man of 22, with his career just starting to take
off, when he published the very first story about Elric of Melnibone
in Science Fantasy in June of 1961. He had been selling fiction for
almost 4 years at that point, and was beginning to make a name for
himself. Elric would really put him on the map, and become his
best-known and most enduring creation.
Elric
was conceived of as a kind of anti-Conan, and the world he inhabited
was originally thought of as a kind of anti-Middle-Earth. Where
Conan was strong, Elric was unable to so much as walk without special
drugs. Conan was a barbarian of no history or lineage, while Elric
was the 428th emperor of the fading empire of Melnibone.
Conan’s culture was barbaric, Elric’s was decadent and cruel.
Conan was a thief, Elric was born rich. Conan feared magic, Elric
was a sorcerer who summoned elementals and demons.
And
the world he inhabited was intended as a kind of backlash against
Middle-Earth, and thus came out rather Lovecraftian. In the world
of Tolkien, the world had declined from a golden era, and magic and
wonder faded more and more as the years passed. In Elric’s world,
magic had been fading for millennia, but that was a good thing, as
magic was depicted as a terrible, inhuman power that either killed
men, drove them mad, or enslaved them. Elric never wanted to resort
to sorcery, and used it only when he had to, and there was always a
price to pay.
“The
Dreaming City” was a novella or novelette, longer than a short
story, and structured like a novel even if it was short. It is
unusual in that it depicted what was later seen as the climactic
battle between Elric and his cousin/nemesis Yrkoon, and Elric’s
complicity in the invasion and destruction of his home. Elric has
been away from the city of Imrryr for many years, but now he has
heard that his cousin has usurped his throne and imprisoned his
lover, Cymoril.
Without
an army of his own, Elric cannot hope to defeat Yrkoon and rescue
Cymoril, so he makes a bargain with the sea-raider captains of the
Young Kingdoms: he will lead them through the sea-maze that guards
the city if they will help him. Thus, in order to serve his own
purposes, Elric is willing to oversee the destruction of his race.
Because
that’s another difference between Elric and Conan – Conan is
human, while Elric is not. The Melniboneans are human-like, but they
are creatures of Chaos. An older race of magic and cruelty. Once
they ruled the world, but now they are reduced to decadent, apathetic
remnants, hiding on their fortress island. The parallels with the
British Empire, coming from a British author, are impossible to
ignore.
What
is remarkable about the story is just how bitter and bleak it is. It
begins with an exiled emperor leading a coup against his own people
with the help of foreign mercenaries paid with the promise of
plunder, but then everything goes utterly and completely wrong. The
city is taken, and Elric confronts his cousin. But while Yrkoon is
slain, Elric’s cursed nature takes a terrible toll for his victory.
His soul-eating runesword, Stormbringer, devours the soul of his
lover Cymoril, leaving Elric in despair. Then, as the fleet escapes
from the island, the Melnibonean dragons swoop down on them. Elric’s
friends and allies are consumed by fire even as he himself uses magic
to propel his ship to safety.
So
by the end, Elric has accomplished almost nothing that he set out to
do. He defeats his enemy, but his people are slain or scattered, his
home destroyed, his lover is worse than dead, and his allies are left
behind, cursing his name as they are slaughtered. The whole thing is
subsumed in this operatic outpouring of tragedy that was quite unlike
the Sword & Sorcery of the day. Moorcock took the vibrant,
dreamlike prose and violence of the genre and did something very
different with it.
Because
he was 20 when he invented Elric, the character bears an unmistakable
stamp of late adolescence. Elric is a loner, separated from those
around him by his melancholy and his brooding. No one among his own
people understands him, and he roams the world alone and apart. He
repudiates the ways and practices of his own people, and resents when
he is forced to use them to achieve his ends. He is fated to be a
hero, even though he resents this as well, and fights against it,
just wanting to be left alone. He is every rootless, post
high-school boy who feels like he is “different” and wants to go
his own way, whatever that means. The sexual symbolism of
Stormbringer – the sword he depends on and cannot get rid of,
though he hates how it keeps sticking into other people as if it had
a mind of its own – is a little too on the nose to examine closely.
“The
Dreaming City” was the beginning of a long career of adding to the
Elric Mythos, as well as the connected “Eternal Champion” books.
None of this went very far at improving the essential character.
Moorcock later filled out his original run of stories and novellas
into a series of books that covered Elric’s life from youth to
death, and the whole became rather bloated and self-important.
Moorcock’s sometimes brilliant prose and relentless imagination
allowed him to get away with a lot, but the character of Elric did
not really hold up well as the center of a long-form story. As the
anti-hero of a novella he worked, as a world-bestriding hero he
became tiresome.
Yet
the mark made on the Sword & Sorcery genre remains indelible.
Moorcock’s dramatic, vivid world had a huge impact on the later
fantasy genre in the 70s and 80s, with his plethora of monsters,
demons, and gods inspiring so much of what we think of as fantasy in
books, games, and movies. The albino, outcast, brooding prince with
his evil sword is such a strong archetype it seems impossible that
there was ever a time without him. Whatever came after, “The
Dreaming City” remains a landmark in the world of fantasy fiction.
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