By G. A. Aiken
Braith of the Darkness likes facing existence overlooked. now not a simple activity for a She-dragon of royal descent. however the evil plots of her father are turning her quiet, dull existence the wrong way up, and he or she has now turn into the enemy of the main vicious queen her variety has ever identified. yet for as soon as, Braith won't need to struggle by myself. now not while the warrior dragon of her goals is prepared to hazard every little thing to avoid wasting her neck.
Addolgar the joyful needs he may possibly say he's assisting the beautiful royal strictly for honorable reasons—but he'd be mendacity. It's now not his fault, notwithstanding! He didn't inform Braith of the Darkness to have the main scrumptious tail he's ever noticeable! but prior to Addolgar can get his very robust claws on that tail, heads are going to roll. simply optimistically now not theirs...
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The Wheel of Time turns, and a while come and go. What was once, what's going to be, and what's, may possibly but fall lower than the Shadow. allow the Dragon experience back at the winds of time.
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Extra info for A Tale of Two Dragons (Dragon Kin, Book 2)
Unlike the original Don Juan, Byron's Juan does feel things and does fear loss, making the most real threat to Juan the loss of his capacity to feel, because then he would be the old Don Juan, and not a new character. Which is the fantasy, the old Don Juan of unfeeling conquest and urge, or the idea of a Don Juan with feelings? The persistent subtext of this question precludes the possibility of closure in Don Juan. Due to a critical bias dating back to Plato favouring mimesis as the paradigmatic function of serious literature, criticism lacks a comprehensive account of literary fantasy.
Because sincerity will no longer save the day, the poem must carryon with and without it. 2s The way the narrator appears to retell the single 'Don Juan' story in ever more elaborate variations suggests a self-critical poetry that can only know its intentions and raise them to consciousness through narrative analysis. This analysis, of course, reveals and enacts a compulsion to repeat, a reluctance to let go of the material and have done with what is at stake in its expression. 26 Through the tension between Juan, whose continuing adventures result from the credulity of youth towards the truth of desire, and the less credulous narrator, the poem realizes the fundamental duality of narrative as a mode of self-knowledge.
158) The intimation here is that the act of deceiving Don Alfonso is not without erotic interest, and it is confirmed just a few stanzas later when Juan and Julia find themselves aroused after Alfonso finally leaves the room. Acknowledging the involvement of the narrator's desire in the poem's production allows the scene to coalesce around an intelligible split between subject and treatment as it takes some of the pressure off Donna Julia, who otherwise would have to bear the entire burden of the narrator's lascivious bent as a mark of her own moral degradation.