By T. A. Barron
Basil turns into Merlin's companion as they conflict the mysterious shadows that threaten the recent Avalon.
a dismal magic has been spreading throughout Avalon. before everything, the occasions appeared unrelated: a warfare in Fireroot among the dwarves and the hearth dragons, blight in Stoneroot, and disputes through the nation-states. yet as Merlin and Basil scour the geographical regions, they start to gain that looming in the back of the becoming chaos is a unmarried darkish threat—an enemy that they’ve by no means encountered. person who needs to be stopped earlier than all of Avalon is lost.
during this jaw-dropping sequel to the mega-hit Merlin’s Dragon, T. A. Barron sends Merlin, Rhia, and Basil, the best dragon ever, on a venture throughout Avalon to root out this new enemy. yet sacrifices could be made, relationships may be demonstrated, and beneficial lives should be lost.
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Extra info for Doomraga's Revenge (Merlin, Book 7)
225–332: cf. Danek (1998) 231 ‘Odysseus shows himself . . ). 103 Cf. Danek (1998) 381–2. 104 Cf. Emlyn-Jones (1998) 133. 105 Cf. Morrison (1992). Homer and the Early Epic Tradition 23 Penelope becomes exceptionally isolated and long-suVering, a neartragic Wgure in her own right; Odysseus becomes excessively cautious, almost addicted to disguise. 107 I will consider here, as my third test case, the question of its interaction with a lost epic on the Ethiopian hero Memnon. Uniquely, the Iliad can be argued to engage in the reception not just of isolated motifs, but of a whole, extensive, narrative sequence from an epic on Memnon.
83–5: Cyprus, Phoenicia, the Egyptians, the Sidonians, and the mysterious Erembi, all visited by Menelaus on his travels; see Morris (1997) 615, also mentioning possible attestations of the proper name `NŁßïł in Mycenean (A3-ti-jo-qo; see Aura Jorro and Adrados (1985) s. ). As a matter of principle, of course, we are not entitled to assume that a mythical tradition passed over by Homer is unknown to him: see Davies (1989) 4; Dowden (1996) 52–3. In the case of the Ethiopians, suppression by the Iliad seems more likely than ignorance: cf.
The Odyssey poet has, I have suggested, retained scenes and narrative sequences from an earlier poem while radically changing their signiWcance. ) with pointed departure from it should be seen as a deliberate narrative strategy, not a Homeric ‘nod’, an unwitting by-product of oral composition. 94 The assumption here of a deliberate narrative strategy is supported by the apparent self-consciousness of the interaction. One way this comes out is through the use of Athena (see above). Another is the 93 Olson (1995) 141–2, 156; de Jong (2001) 11, 73.