The progenitor of fantasy literature writes with more creativity and style than his legions of imitators
Lord Dunsany is the grandfather of modern fantasy fiction. Tolkien set the world on fire with fantasy, but he used Dunsany’s torch. The 18th Baron of Dunsany launched his literary career in 1904 with The Gods of Pegāna, in which he constructs an entire cosmogony from whole cloth — a literary first for what is now almost required for any epic fantasy. For those who want their foundational fantasy texts a bit lighter, we’re looking at “The Fortress Unvanquishable, Save for Sacnoth” today, one of Dunsany’s many short stories.
It’s one of a selection from In the Land of Time: And Other Fantasy Tales compiled by S.T. Joshi. You can get it here: https://www.amazon.com/dp/B001O2MQBO.
Dunsany uses a well-worn fantasy narrative, but stuffs it with invention
The actual narrative structure of the story is exceedingly simple. Man’s village is threatened. Man attains magic sword. Man hits bad things with magic sword until bad things are gone. The framework is not much, but what Dunsany hangs on it, the sheer inventiveness and substance of the world he drapes around the cheap coat rack of the narrative is what makes him a foundational author. Let’s start with that magic sword: Leothric doesn’t just yank it out of a rock like some idiot. No, he has to fight “the dragon-crocodile who haunts the Northern marshes” and is made entirely of metal, and who has in “the midst of his back, over his spine…a narrow strip of unearthly steel. This strip of steel is Sacnoth, and it may be neither cleft nor molten, and there is nothing in the world that may avail to break it, nor even leave a scratch upon its surface.”
The hero of the story, Leothric, kills the beast and then gets the invincible sword Sacnoth by chucking the body into a furnace until the rest of the dragon-crocodile’s body melts away from it. If you know of a cooler way for a hero to get his magic sword, please comment with it.
Sword won, Leothric heads to his foeman’s castle. He enters the castle, goes from room to room, sees weird things, vanquishes weird things, and then meets with the evil wizard who is creating problems for his village. It’s not in the quality of the plot the Dunsany gets you, it’s in the depth of his world and the strangeness with which he populates it. His vision is potent, and his language delivers it undiluted to his readers.
Any nincompoop can stick a sword in a dragon. Leothric does it with style
What follows is just one example of Leothric’s trials inside The Fortress Unvanquishable:
Outside he felt the night air on his face, and found that he stood upon a narrow way between two abysses. To left and right of him, as far as he could see, the walls of the fortress ended in a profound precipice, though the roof still stretched above him; and before him lay the two abysses full of stars, for they cut their way through the whole Earth and revealed the under sky; and threading its course between them went the way, and it sloped upward and its sides were sheer.
Upon this narrow way over an endless abyss inside a castle Leothric meets and must slay the dragon Thok:
And he smote deep with Sacnoth, and Thok tumbled into the abyss, screaming, and his limbs made a whirring in the darkness as he fell, and he fell till his scream sounded no louder than a whistle and then could be heard no more. Once or twice Leothric saw a star blink for an instant and reappear again, and this momentary eclipse of a few stars was all that remained in the world of the body of Thok.
This one scene can stand in for what Dunsany accomplishes in his entire body of work. Any hero can slay a dragon, but Leothric enters a room in a castle that inexplicably contains an abyss, whose only light is that which comes from the stars on the other side of a depthless hole in the Earth. He kills the dragon, and its corpse tumbles through the endless dark, blocking starlight as it falls. The imagery is deep and rich enough to to make its reality rock-solid, and the contrast between the solidity of his description and the strangeness of what he describes is the key to the delight Dunsany manufactures in each story.