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Though now largely forgotten, Eddison's early works of Fantasy inspired both Tolkien and C.S. Lewis, who never surpassed him in imagination, verbal beauty, or philosophy. In terms of morality, both later authors painted their worlds in broad strokes of black and white, excepting a traitor here or a redemption there. Like in the nationalistic epic 'Song of Roland', evil and good are tangible effects, borne in the blood.

Though similar on the surface, Eddison's is much more subtle. Though he depicts grand heroism and grand treachery, both are acts motivated by social codes and by need. Neither goes unquestioned, so that even when honesty is lauded and treachery is condemned, there is a certain self-awareness and irony in play.

In Fantasy, as in the Epic before it, there is an inherent conflict between the hyperbole of the high action and the need for sympathetic characters. A character without flaws cannot be sympathetic, for such a character has no humanity. A flawless hero in a world of simple morality can only be a farce, expressed either as satire or propaganda.

Eddison's characters and philosophies are too complex for propaganda, which is unsurprising since he takes his cues from Shakespeare. Like The Bard, Eddison does give us some overblown cliches, and occasionally lets them ride, but the setting and the supporting cast balance them by opposition. In no way does Eddison give up on the action or melodrama of the Epic tradition, but he tempers it with undertones of existentialism and realism.

Breadth of character complexity is not all Eddison borrows from Shakespeare, however. 'The Worm Ouroboros' is a whimsical exploration of the imagination, and is unapologetically stylized. The language is purposefully archaic and evocative of the Metaphysical poets, the Nordic Sagas, and Chaucer.

As a linguist and translator, Eddison's language is seasoned and playful. Some have expressed discontent at trying to read it, but it is usually more simple than Shakespeare's, and rarely as difficult as Chaucer's.

There are some truly lovely, almost alien passages in the book, but they are not Tolkien's wooden reconstruction of epic language, they are truly a language of their own. This is especially true of the scenes of war and the emotionally fraught interplay between characters. Though much of the interaction plays out along the lines of chivalry, nobility, and duty, there is often a subtext of unspoken, conflicting desires and thoughts. As with any formal social system, chivalry may be the mode of interaction, but it is rarely the content.

Like the Metaphysical poetry of Donne, Sydney, and Shakespeare, though the surface may be grand or lovely or innocent, the underlying meanings subvert. Unlike Tolkien, this underlying meaning is not a stodgy allegorical moral but an exploration of human thought and desire.

Also unlike Tolkien, Eddison is not afraid of women. His women are mightily present, and may be manipulative, vengeful, honorable, powerful, and self-sacrificing as the men. The women are often defined by their sexuality, meaning their beauty and availability. The book neither praises not condemns this social control, as it is the form which chivalry takes, but these ideals entrap the men just as strictly. Though he doesn't create female knights like Ariosto, neither are his women Tolkien's objects of distant and uneasy worship.

However, one can see in Eddison's Queen Sophonisba a prototype for Galadriel. Likewise the destruction at Krothering is reminiscent of the industrialization of Isengard and The Shire. The 'seeing stones' prefigure both the palantir and Galadriel's mirror. Gorice XII working magic in his black tower could be Saruman, nor are these the end of the parallels between the books.

It is a shame that modern fantasy authors did not take more from Eddison than his striking imagery. We could do with more subtle character interaction, more sympathetic foes, characters remarkable not for their prowess, but for their philosophies, and a well-studied depiction of arms, armor, war, ships, architecture, art, food, hunting, and culture.

The depth and detail of each table or boot or sea battle truly shows the mastery of the author, and the supremacy of his knowledge. The world is full and rich and alien and yet remains sympathetic. The play of language is complex and studied, and second in force only to a master like Mervyn Peake.

Rare is the author who has picked up the resonance of the early fantasy works of Morris, MacDonald, Dunsany, and Eddison, but there are some, such as Fritz Leiber and Michael Moorcock, and though they are sadly few, they represent remarkably unique visions within the tradition. Eddison's own vision remains without peer to this day, as no author has been able to combine studied archaism so effortlessly with childlike enthusiasm. Perhaps no one ever will.

Ebook readers should be happy to discover that his works, including this one, are readily available for free online.