By David Dalglish
“We are those who personal the evening. we're the ones with blood on our palms. we're the reapers, the demons, the darkish shadows wielding metal. we won't be denied our vengeance.”
Haern is the King's Watcher, protector opposed to thieves and nobles who may perhaps fill the evening with blood. but hundreds and hundreds of miles away, an murderer often called the Wraith has started slaughtering these in strength, and leaving the emblem of the Watcher in mockery. while Haern travels south to confront his copycat killer, he unearths a urban governed by way of the corrupt, the grasping, and the harmful. Rioters fill the streets, and the specter of warfare with the mysterious elves hangs over all. to prevent it, Haern needs to confront the lethal Wraith, and the fellow he could become.
A DANCE OF demise via David Dalglish
Man or God; what occurs whilst the strains are blurred?
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Additional resources for A Dance of Death (Shadowdance Trilogy, Book 3)
Self-Distancing and the Capacity for Action 56 4. Where Is Home? 66 5. Hospitality and the Transformation of Realms 83 6. Amor in the Aeneid 106 7. Bridging Public and Private: Labor and Pietas 122 Conclusion 139 Notes 145 Index Locorum 157 Index 161 Page xi Preface Work, family, politics, friendship, the desire to create, and the longing for solitude all pull us in different directions. Weighing and ordering these competing claims set the course for a human life. In the larger sphere, the value accorded each and the arrangement achieved among them form the character of an entire culture.
In this introduction and in a different way in the conclusion, I suggest the Page 4 contributions of the Aeneid to contemporary discourse on the issues of public and private. In the central chapters of the book I analyze the dichotomy between public and private as a defining theme of Vergil's epic. Vergil never gave up on the public world, as his successors did even in the next generation. Nor was he so public in his purposes that he was not acutely aware of the equally compelling claims of the private realm: friends, family, spirit, and hearth.
Consistent with broad cultural differences between Athens and Rome, however, they refer more frequently to legal and administrative functions than to political ideals. They are more managerial than ethical. An exception is Cicero. In his De Republica, Cicero writes of the early Brutus who, even though not a public official, sustained the entire Republic and was the first in the state to demonstrate that in preserving civil liberty, no one was a private citizen: primusque in hac civitate docuit in conservanda civium libertate esse privatum neminem (Rep.
A Dance of Death (Shadowdance Trilogy, Book 3) by David Dalglish