Elric of Melniboné

  Elric of Melnibone

  The Elric Saga

  Book I

  Michael Moorcock

  Content

  Dedication

  Prologue

  Book One

  1. A Melancholy King: A Court Strives to Honour Him

  2. An Upstart Prince: He Confronts His Cousin

  3. Riding Through the Morning: A Moment of Tranquillity

  4. Prisoners: Their Secrets Are Taken from Them

  5. A Battle: The King Proves His War-Skill

  6. Pursuit: A Deliberate Treachery

  Book Two

  1. The Caverns of the Sea King

  2. A New Emperor and an Emperor Renewed

  3. A Traditional Justice

  4. To Call the Chaos Lord

  5. The Ship Which Sails Over Land and Sea

  6. What the Earth God Desired

  7. King Grome

  8. The City and the Mirror

  Book Three

  1. Through the Shade Gate

  2. In the City of Ameeron

  3. The Tunnel Under the Marsh

  4. Two Black Swords

  5. The Pale King's Mercy

  Epilogue

  Dedication

  To Poul Anderson for The Broken Sword and Three Hearts and Three Lions. To the late Fletcher Pratt for The Well of the Unicorn. To the late Bertold Brecht for The Threepenny Novel which, for obscure reasons, I link with the other books as being one of the chief influences on the first Elric stories.

  Prologue

  This is the tale of Elric before he was catted Woman-slayer, before the final collapse of Melnibone. This is the tale of his rivalry with his cousin Yyrkoon and his love for his cousin Cymoril, before that rivalry and that love brought Imrryr, the Dreaming City, crashing in flames, raped by the reavers from the Young Kingdoms. This is the tale of the two black swords, Stormbringer and Mournblade, and how they were discovered and what part they played in the destiny of Elric and Melnibone—a destiny which was to shape a larger destiny: that of the world itself. This is the tale of when Elric was a king, the commander of dragons, fleets and all the folk of that half-human race which had ruled the world for ten thousand years.

  This is a tale of tragedy, this tale of Melnibone, the Dragon Isle. This is a tale of monstrous emotions and high ambitions. This is a tale of sorceries and treacheries and worthy ideals, of agonies and fearful pleasures, of bitter love and sweet hatred. This is the tale of Elric of Melnibone. Much of it Elric himself was to remember only in his nightmares.

  The Chronicle of the Black Sword

  Book One

  On the island kingdom of Melnibone all the old rituals are still observed, though the nation's power has waned for five hundred years, and now her way of life is maintained only by her trade with the Young Kingdoms and the fact that the city of Imrryr has become the meeting place of merchants. Are those rituals no longer useful; can the rituals be denied and doom avoided? One who would rule in Emperor Elric's stead prefers to think not. He says that Elric will bring destruction to Melnibone by his refusal to honour all the rituals (Elric honours many). And now opens the tragedy which will close many years from now and precipitate the destruction of this world.

  1.

  A Melancholy King:

  A Court Strives to Honour Him

  It is the colour of a bleached skull, his flesh; and the long hair which flows below his shoulders is milk-white. From the tapering, beautiful head stare two slanting eyes, crimson and moody, and from the loose sleeves of his yellow gown emerge two slender hands, also the colour of bone, resting on each arm of a seat which has been carved from a single, massive ruby.

  The crimson eyes are troubled and sometimes one hand will rise to finger the light helm which sits upon the white locks: a helm made from some dark, greenish alloy and exquisitely moulded into the likeness of a dragon about to take wing. And on the hand which absently caresses the crown there is a ring in which is set a single rare Actorios stone whose core sometimes shifts sluggishly and reshapes itself, as if it were sentient smoke and as restless in its jewelled prison as the young albino on his Ruby Throne.

  He looks down the long flight of quartz steps to where his court disports itself, dancing with such delicacy and whispering grace that it might be a court of ghosts. Mentally he debates moral issues and in itself this activity divides him from the great majority of his subjects, for these people are not human.

  These are the people of Melnibone, the Dragon Isle, which ruled the world for ten thousand years and has ceased to rule it for less than five hundred years. And they are cruel and clever and to them 'morality' means little more than a proper respect for the traditions of a hundred centuries.

  To the young man, four hundred and twenty-eighth in direct line of descent from the first Sorcerer Emperor of Melnibone, their assumptions seem not only arrogant but foolish; it is plain that the Dragon Isle has lost most of her power and will soon be threatened, in another century or two, by a direct conflict with the emerging human nations whom they call, somewhat patronisingly, the Young Kingdoms. Already pirate fleets have made unsuccessful attacks on Imrryr the Beautiful, the Dreaming City, capital of the Dragon Isle of Melnibone.

  Yet even the emperor's closest friends refuse to discuss the prospect of Melnibone's fall. They are not pleased when he mentions the idea, considering his remarks not only unthinkable, but also a singular breach of good taste.

  So, alone, the emperor broods. He mourns that his father, Sadric the Eighty-Sixth, did not sire more children, for then a more suitable monarch might have been available to take his place on the Ruby Throne. Sadric has been dead a year; whispering a glad welcome to that which came to claim his soul. Through most of his life Sadric had never known another woman than his wife, for the Empress had died bringing her sole thin-blooded issue into the world. But, with Melnibonean emotions (oddly different from those of the human newcomers), Sadric had loved his wife and had been unable to find pleasure in any other company, even that of the son who had killed her and who was all that was left of her. By magic potions and the chanting of runes, by rare herbs had her son been nurtured, his strength sustained artificially by every art known to the Sorcerer Kings of Melnibone. And he had lived—still lives—thanks to sorcery alone, for he is naturally lassitudinous and, without his drugs, would barely be able to raise his hand from his side through most of a normal day.

  If the young emperor has found any advantage in his lifelong weakness it must be in that, perforce, he has read much. Before he was fifteen he had read every book in his father's library, some more than once. His sorcerous powers, learned initially from Sadric, are now greater than any possessed by his ancestors for many a generation. His knowledge of the world beyond the shores of Melnibone is profound, though he has as yet had little direct experience of it. If he wishes he could resurrect the Dragon Isle's former might and rule both his own land and the Young Kingdoms as an invulnerable tyrant. But his reading has also taught him to question the uses to which power is put, to question his motives, to question whether his own power should be used at all, in any cause. His reading has led him to this 'morality', which, still, he barely understands. Thus, to his subjects, he is an enigma and, to some, he is a threat, for he neither thinks nor acts in accordance with their conception of how a true Melnibonean (and a Melnibonean emperor, at that) should think and act. His cousin Yyrkoon, for instance, has been heard more than once to voice strong doubts concerning the emperor's right to rule the people of Melnibone. 'This feeble scholar will bring doom to us all,' he said one night to Dyvim Tvar, Lord of the Dragon Caves.

  Dyvim Tvar is one of the emperor's few friends and he had duly reported the conversation, but the youth had dismissed the remarks as 'only a trivia
l treason', whereas any of his ancestors would have rewarded such sentiments with a very slow and exquisite public execution.

  The emperor's attitude is further complicated by the fact that Yyrkoon, who is even now making precious little secret of his feelings that he should be emperor, is the brother of Cymoril, a girl whom the albino considers the closest of his friends, and who will one day become his empress.

  Down on the mosaic floor of the court Prince Yyrkoon can be seen in all his finest silks and furs, his jewels and his brocades, dancing with a hundred women, all of whom are rumoured to have been mistresses of his at one time or another. His dark features, at once handsome and saturnine, are framed by long black hair, waved and oiled, and his expression, as ever, is sardonic while his bearing is arrogant. The heavy brocade cloak swings this way and that, striking other dancers with some force. He wears it almost as if it is armour or, perhaps, a weapon. Amongst many of the courtiers there is more than a little respect for Prince Yyrkoon. Few resent his arrogance and those who do keep silent, for Yyrkoon is known to be a considerable sorcerer himself. Also his behaviour is what the court expects and welcomes in a Melnibonean noble; it is what they would welcome in their emperor.

  The emperor knows this. He wishes he could please his court as it strives to honour him with its dancing and its wit, but he cannot bring himself to take part in what he privately considers a wearisome and irritating sequence of ritual posturings. In this he is, perhaps, somewhat more arrogant than Yyrkoon who is, at least, a conventional boor.

  From the galleries, the music grows louder and more complex as the slaves; specially trained and surgically operated upon to sing but one perfect note each, are stimulated to more passionate efforts. Even the young emperor is moved by the sinister harmony of their song which in few ways resembles anything previously uttered by the human voice. Why should their pain produce such marvellous beauty? he wonders. Or is all beauty created through pain? Is that the secret of great art, both human and Melnibonean?

  The Emperor Elric closes his eyes.

  There is a stir in the hall below. The gates have opened and the dancing courtiers cease their motion, drawing back and bowing low as soldiers enter. The soldiers are clad all in light blue, their ornamental helms cast in fantastic shapes, their long, broad-bladed lances decorated with jewelled ribbons. They surround a young woman whose blue dress matches their uniforms and whose bare arms are encircled by five or six bracelets of diamonds, sapphires and gold. Strings of diamonds and sapphires are wound into her hair. Unlike most of the women of the court, her face has no designs painted upon the eyelids or cheekbones. Elric smiles. This is Cymoril. The soldiers are her personal ceremonial guard who, according to tradition, must escort her into the court. They ascend the steps leading to the Ruby Throne. Slowly Elric rises and stretches out his hands.

  “Cymoril. I thought you had decided not to grace the court tonight?”

  She returns his smile. “My emperor, I found that I was in the mood for conversation, after all.”

  Elric is grateful. She knows that he is bored and she knows, too, that she is one of the few people of Melnibone whose conversation interests him. If protocol allowed, he would offer her the throne, but as it is she must sit on the topmost step at his feet.

  “Please sit, sweet Cymoril.” He resumes his place upon the throne and leans forward as she seats herself and looks into his eyes with a mixed expression of humour and tenderness. She speaks softly as her guard withdraws to mingle at the sides of the steps with Elric's own guard. Her voice can be heard only by Elric.

  “Would you ride out to the wild region of the island with me tomorrow, my lord?”

  “There are matters to which I must give my attention...” He is attracted by the idea. It is weeks since he left the city and rode with her, their escort keeping a discreet distance away.

  “Are they urgent?”

  He shrugs. “What matters are urgent in Melnibone? After ten thousand years, most problems may be seen in a certain perspective.” His smile is almost a grin, rather like that of a young scholar who plans to play truant from his tutor. “Very well—early in the morning, we'll leave, before the others are up.”

  “The air beyond Imrryr will be clear and sharp. The sun will be warm for the season. The sky will be blue and unclouded.”

  Elric laughs. “Such sorcery you must have worked!”

  Cymoril lowers her eyes and traces a pattern on the marble of the dais. “Well, perhaps a little. I am not without friends among the weakest of the elementals...”1

  Elric stretches down to touch her fine, fair hair. “Does Yyrkoon know?”

  “No.”

  Prince Yyrkoon has forbidden his sister to meddle in magical matters. Prince Yyrkoon's friends are only among the darker of the supernatural beings and he knows that they are dangerous to deal with; thus he assumes that all sorcerous dealings bear a similar element of danger. Besides this, he hates to think that others possess the power that he possesses. Perhaps this is what, in Elric, he hates most of all.

  “Let us hope that all Melnibone needs fine weather for tomorrow,” says Elric. Cymoril stares curiously at him. She is still a Melnibonean. It has not occurred to her that her sorcery might prove unwelcome to some. Then she shrugs her lovely shoulders and touches her lord lightly upon the hand.

  “This ‘guilt’,” she says. “This searching of the conscience. Its purpose is beyond my simple brain.”

  “And mine, I must admit. It seems to have no practical function. Yet more than one of our ancestors predicted a change in the nature of our earth. A spiritual as well as a physical change. Perhaps I have glimmerings of this change when I think my stranger, un-Melnibonean, thoughts?”

  The music swells. The music fades. The courtiers dance on, though many eyes are upon Elric and Cymoril as they talk at the top of the dais. There is speculation. When will Elric announce Cymoril as his empress-to-be? Will Elric revive the custom that Sadric dismissed, of sacrificing twelve brides and their bridegrooms to the Lords of Chaos in order to ensure a good marriage for the rulers of Melnibone? It was obvious that Sadric's refusal to allow the custom to continue brought misery upon him and death upon his wife; brought him a sickly son and threatened the very continuity of the monarchy. Elric must revive the custom. Even Elric must fear a repetition of the doom which visited his father. But some say that Elric will do nothing in accordance with tradition and that he threatens not only his own life, but the existence of Melnibone itself and all it stands for. And those who speak thus are often seen to be on good terms with Prince Yyrkoon who dances on, seemingly unaware of their conversation or, indeed, unaware that his sister talks quietly with the cousin who sits on the Ruby Throne; who sits on the edge of the seat, forgetful of his dignity, who exhibits none of the ferocious and disdainful pride which has, in the past, marked virtually every other emperor of Melnibone; who chats animatedly, forgetful that the court is supposed to be dancing for his entertainment.

  And then suddenly Prince Yyrkoon freezes in mid-pirouette and raises his dark eyes to look up at his emperor. In one corner of the hall, Dyvim Tvar's attention is attracted by Yyrkoon's calculated and dramatic posture and the Lord of the Dragon Caves frowns. His hand falls to where his sword would normally be, but no swords are worn at a court ball. Dyvim Tvar looks warily and intently at Prince Yyrkoon as the tall nobleman begins to ascend the stairs to the Ruby Throne. Many eyes follow the emperor's cousin and now hardly anyone dances, though the music grows wilder as the masters of the music slaves goad their charges to even greater exertions.

  Elric looks up to see Yyrkoon standing one step below that on which Cymoril sits. Yyrkoon makes a bow which is subtly insulting.

  “I present myself to my emperor,” he says.

  2.

  An Upstart Prince:

  He Confronts His Cousin

  “And how do you enjoy the ball, cousin?” Elric asked, aware that Yyrkoon's melodramatic presentation had been designed to catch him off-guard and, if poss
ible, humiliate him. “Is the music to your taste?”

  Yyrkoon lowered his eyes and let his lips form a secret little smile. “Everything is to my taste, my liege. But what of yourself? Does something displease you? You do not join the dance.”

  Elric raised one pale finger to his chin and stared at Yyrkoon's hidden eyes. “I enjoy the dance, cousin, nonetheless. Surely it is possible to take pleasure in the pleasure of others?”

  Yyrkoon seemed genuinely astonished. His eyes opened fully and met Elric's. Elric felt a slight shock and then turned his own gaze away, indicating the music galleries with a languid hand. “Or perhaps it is the pain of others which brings me pleasure. Fear not, for my sake, cousin. I am pleased. I am pleased. You may dance on, assured that your emperor enjoys the ball.”

  But Yyrkoon was not to be diverted from his object. “Surely, if his subjects are not to go away saddened and troubled that they have not pleased their ruler, the emperor should demonstrate his enjoyment...?”

  “I would remind you, cousin,” said Elric quietly, “that the emperor has no duty to his subjects at all, save to rule them. Their duty is to him. That is the tradition of Melnibone.”

  Yyrkoon had not expected Elric to use such arguments against him, but he rallied with his next retort. “I agree, my lord. The emperor's duty is to rule his subjects. Perhaps that is why so many of them do not, themselves, enjoy the ball as much as they might.”

  “I do not follow you, cousin.”

  Cymoril had risen and stood with her hands clenched on the step above her brother. She was tense and anxious, worried by her brother's bantering tone, his disdainful bearing.

  “Yyrkoon...” she said.

  He acknowledged her presence. “Sister. I see you share our emperor's reluctance to dance.”

  “Yyrkoon,” she murmured, “you are going too far. The emperor is tolerant, but...”