Sword and sorcery
From The Art and Popular Culture Encyclopedia
|
"Then I saw an object lying at my feet, and stooped and took it up. It was a heavy iron sword, whose broad blade was darkly stained. My fingers fitted instinctively about its hilt with the familiarity of long usage. Then suddenly I remembered and laughed to think that a fall on his head should render me, Conan of the reavers, so completely daft. Aye, it all came back to me now. It had been a raid on the Britons, on whose coasts we continually swooped with torch and sword, from the island called Eireann."--"People of the Dark" (1932) by Robert E. Howard |
|
Related e |
|
Featured: |
Sword and sorcery (S&S) or heroic fantasy is a subgenre of fantasy characterized by sword-wielding heroes engaged in exciting and violent adventures. Elements of romance, magic, and the supernatural are also often present. Unlike works of high fantasy, the tales, though dramatic, focus on personal battles rather than world-endangering matters. Sword and sorcery commonly overlaps with heroic fantasy. The genre originated from the early-1930s works of Robert E. Howard. The term "sword and sorcery" was coined by Fritz Leiber in the May 1961 issue of the fantasy fanzine Amra, to describe Howard and the stories that were influenced by his works. In parallel with "sword and sorcery", the term "heroic fantasy" is used, although it is a more loosely defined genre.
Sword and sorcery tales eschew overarching themes of 'good vs evil' in favor of situational conflicts that often pit morally gray characters against one another to enrich themselves, or to defy tyranny.
Sword and sorcery is grounded in real-world social and societal hierarchies, and is grittier, darker, and more violent, with elements of cosmic, often Lovecraftian creatures that aren't a staple of mainstream fantasy. The main character is often a barbarian with antihero traits.
Origins
In his introduction to the reference Literary Swordsmen and Sorcerers by L. Sprague de Camp, Lin Carter notes that the heritage of sword and sorcery is illustrious, and can be traced back to mythology, including the labors of Hercules, as well as to classical epics such as Homer's Odyssey, the Norse sagas, and Arthurian legend.
It also has been influenced by historical fiction. For instance, the work of Sir Walter Scott was influenced by Scottish folklore and ballads. But few of Scott's stories contain fantastic elements; in most, the appearance of such is explained away. Its themes of adventure in a strange society influenced the adventures set in foreign lands by H. Rider Haggard and Edgar Rice Burroughs. Haggard's works included many fantastic elements.
Sword and sorcery's immediate progenitors are the swashbuckling tales of Alexandre Dumas, père (The Three Musketeers (1844), etc.), Rafael Sabatini (Scaramouche (1921), etc.) and their pulp magazine imitators, such as Talbot Mundy, Harold Lamb, and H. Bedford-Jones, who all influenced Howard. However, these historical "swashbucklers" lack the supernatural element (even though Dumas' fiction contained many fantasy tropes) which defines the genre.
Another influence was early fantasy fiction such as Lord Dunsany's "The Fortress Unvanquishable, Save for Sacnoth" (1910) and A. Merritt's The Ship of Ishtar (1924). All these authors influenced sword and sorcery for the plots, characters, and landscapes used. The American author Gertrude Hall's 1895 novelette "Garden Deadly" appears to anticipate the genre with the tale of a blighted kingdom, a seductive enchantress who turns men into animals, and a brash, brawny outsider who sets out to save the day.
Also, many early sword and sorcery writers, such as Howard and Clark Ashton Smith, were influenced by the Middle Eastern tales of the Arabian Nights, whose stories of magical monsters and evil sorcerers were an influence on the genre-to-be.
Sword and sorcery's frequent depictions of smoky taverns and fetid back alleys draw upon the picaresque genre; for example, Rachel Bingham notes that Fritz Leiber's city of Lankhmar bears considerable similarity to 16th century Seville as depicted in Miguel de Cervantes' tale "Rinconete y Cortadillo".
Sword and sorcery proper only truly began in the pulp fantasy magazines, where it emerged from "weird fiction". The magazine Weird Tales, which published Howard's Conan stories and C. L. Moore's Jirel of Joiry tales, as well as key influences like H. P. Lovecraft and Smith, was especially important.
See also
