By Theresa Tomlinson
Myrina has ready for 13 years to affix the Moon Riders—learning the sacred dances, the paintings of utilizing a weapon, and hearing her mom and grandmother's stories in their time spent with the Moon-maidens. eventually, the day arrives whilst she is going to depart her kinfolk and dedicate herself to the previous lady, Atisha, and her tribe of fearless younger warriors.
No faster do Myrina and the Riders go away camp while a stowaway is came upon: Cassandra, the stricken younger princess of Troy. Myrina is skeptical of Cassandra's "visions" of dying and destruction in Troy; and but whilst her predictions start to come real, she and the opposite Moon Riders don't have any selection yet to get entangled. The occasions that spread because the Trojan struggle wages on will have an effect on Myrina, Cassandra, and the Moon Riders in unbelievable, unforgettable ways.
Acclaimed British writer Theresa Tomlinson expertly brings to existence the legend of the Amazons and units it opposed to a backdrop of 1 of the main mythic, imagination-inspiring battles in all of heritage.
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Myrina has ready for 13 years to hitch the Moon Riders—learning the sacred dances, the artwork of utilizing a weapon, and hearing her mom and grandmother's stories in their time spent with the Moon-maidens. eventually, the day arrives whilst she's going to depart her kin and dedicate herself to the previous girl, Atisha, and her tribe of fearless younger warriors.
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Additional info for The Moon Riders (Moon Riders Series, Book 1)
At one time Dumézil thought these functions represented actual social classes in proto-IndoEuropean society, but later he backed away from this notion and was content to argue for the structure on a purely mythological plane. A second aspect of the Dumézilian theory involved the “displacement of myth,” that is, the idea that a mythic structure could be “displaced” to the level of divine heroes or in some cases historical fictions. In the Scandinavian area, Dumézil’s most forceful argument for such displacement involved the prehistoric king Hadingus, who had many aspects, according to Dumézil, but who also enacted in his life and career all three functions.
Gylfi takes the Odin-role in this contest of wisdom, as the traveler under an assumed name, and indeed this assumed name, Gangleri, is one of Odin’s in Grímnismál, stanza 46 and elsewhere. This is somewhat ironic, since Hár, Jafnhár, and even Thridi are also names of Odin, the latter two also in Grímnismál. But as we shall see, Hár, Jafnhár, and Thridi probably also, in Snorri’s view, were no more Odin than Gylfi was. , Gylfaginning, Skáldskaparmál, Háttatal) and probably in the opposite order from the one in which Snorri wrote them, make up, with a prologue, Snorri’s Edda, as the work is called in one of its manuscripts.
Snorri had visited that king, Hákon Hákonarson the Old, in 1218–1219, and he composed a poem in praise of the boy king and his regent, the jarl Skuli. This poem is called Háttatal (Enumeration of Meters), and it exemplifies 101 metrical or stylistic variants in its 102 stanzas, equipped with a commentary. From an explication of meter and style, it seems, he moved to a discussion of the system of kennings and rare or poetic words and names called “heiti,” which he embodied in a treatise called Skáldskaparmál (The Language of Poetry).
The Moon Riders (Moon Riders Series, Book 1) by Theresa Tomlinson