By Poul Anderson
A global conflict II freedom fighter is transported to a medieval realm of magic and delusion to adopt an excellent yet perilous quest during this vintage fable adventure
Holger Carlsen is a rational guy of technology. A Danish engineer operating with the Resistance to defeat the Nazis, he's wounded in the course of an engagement with the enemy and awakens in an surprising parallel universe the place the forces of legislations are locked in everlasting strive against with the forces of Chaos. opposed to a medieval backdrop, courageous knights needs to soak up palms opposed to magical creatures of fable and faerie, struggling with dragons, trolls, werewolves, and giants.
Though Holger has no recollection of this global, he discovers he's already recognized in the course of the lands, a hero respected as a Champion of legislation. He reveals weaponry and armor waiting for him—precisely suited to his form—and a guard with 3 hearts and 3 lions emblazoned upon it. As he trips via a realm jam-packed with wonders looking for the most important to his previous, Holger will name upon the medical wisdom of his domestic dimension—the destinies of either worlds striking within the balance.
Before Thomas Covenant, Roger Zelazny's Amber, and J. R. R. Tolkien's The Lord of the Rings, the good Poul Anderson brought readers to the center international and the mythical hero Ogier the Dane. artistic and fascinating, Three Hearts and 3 Lions is a foray into myth that employs touches of technological know-how fiction from an award-winning grasp of the speculative.
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Additional info for Three Hearts and Three Lions (Operation Otherworld, Book 2.5)
It constitutes such a world in its very pronouncements. Of course, as Coriolanus discovers, such a world is a fragile thing without the military power and the popular support to maintain it. Antony and Cleopatra’s apparent concern with transcendence in its last scenes, like the sonnets’ similar preoccupations, should be seen in terms of the attempts by its defeated protagonists to maintain, and even extend, the show of self-proclaimed performative authority exempliﬁed in the public coronation and division of empire.
Rather, he tries to displace his eloquent rival from the beloved’s favour. The argument is employed because it is thought to have a greater political and social force than that of the rival, not because its language is epistemologically ‘more true’. is it that sayes most,which can say more, Then this rich praise,that you alone,are you, In whose conﬁne immured is the store, Which should example where your equall grew, Leane penurie within that Pen doth dwell, That to his subiect lends not some small glory, But he that writes of you,if he can tell, That you are you,so digniﬁes his story.
By surrounding them with different kinds of critical ﬁctions critics hoped to get them to make coherent sense. Repeated attempts to ﬁx the Quarto order by arguing that it was indeed authorised by its author (albeit in some haste to escape the plague, we are told) offer no new factual evidence, but merely rearrange old ﬁctions in predictable ways. Such scholarship is furthermore pressed into the service of prior commitments to particular narratives that hold the poems together, in an attempt to ﬁll in the gaps that are the marks of their autobiographical origin.