By Roger Zelazny
gods, homes, one quest, and the everlasting struggle among lifestyles and dying
to avoid wasting his state, Anubis, Lord of the useless, sends forth his servant on a project of vengeance. whilst, from the home of lifestyles, Osiris sends forth his son, Horus, at the similar venture to smash completely and endlessly The Prince Who used to be 1000.
yet neither of those superhuman warriors is ready for the unusual and harrowing international of mortal existence, and the item That Cries within the evening may perhaps spoil not just their worlds, yet all mankind.
As Zelazny did with the Hindu pantheon within the mythical, groundbreaking vintage Lord of Light, the grasp storyteller the following breathes new lifestyles into the Egyptian gods with one other mind-blowing story of mythology and mind's eye.
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Additional info for Creatures of Light and Darkness
When Bragi has finished, he and Ægir have a short conversation about a few kennings, and then Ægir asks Bragi the origin of poetry, which elicits the story of the origin and acquisition by Odin of the mead of poetry. At the end of this story Ægir puts questions and Bragi answers them in a way that looks very much like the master-disciple dialogue that so typifies didactic texts in the Middle Ages. Scholars pay special attention to this dialogue, for it sets forth more clearly than in any other place some of the principles of skaldic poetry.
Most of the place-names of Scandinavia are very old, and over time they have changed enough that only etymology can recover the original meaning. ” Not a few place-names originally contained the names of gods, and the distribution in time and space of these names can tell us much. Nearly all of these theophoric (referring to a deity) names are compounds, in which the name of the god is followed by a noun referring to a natural or cultural feature of the landscape. ” Scholars usually distinguish “nature-names” from “cult-names,” but the distinction is not as clear as the previous pair of words suggests.
After presenting a standard medieval view of the world as consisting of Africa, Europe, and Asia, he says that near the center of the earth, in Tyrkland, lies the city of Troy. ” He was raised by Duke Loricus, whom he subsequently killed, and he took over the kingdom of Loricus, Trákía (Thrace), “which we call Thrúdheim. ” Troy was a known place, and Agamemnon and Priam were historical figures known in Iceland from the twelfth century onward. Snorri sets Thor in that environment; that is, he tells us that there was a historical figure whom the Nordic peoples called Thor who lived before Christ was born and who performed historical acts (it is important to remember that berserks and dragons were not as fantastic to medieval historians as they seem to us) that look very much like some of the myths about Thor that later were to be told by the Nordic peoples.