To Kill A Dragon

In How to Kill a Dragon Calvert Watkins follows the continuum of poetic formulae in Indo-European languages, from Old Hittite to medieval Irish. He uses the comparative method to reconstruct traditional poetic formulae of considerable complexity that stretch as far back as the original common language. Thus, Watkins reveals the antiquity and tenacity of the Indo-European poetic tradition. Watkins begins this study with an introduction to the field of comparative Indo-European poetics; he explores the Saussurian notions of synchrony and diachrony, and locates the various Indo-European traditions and ideologies of the spoken word. Further, his overview presents case studies on the forms of verbal art, with selected texts drawn from Indic, Iranian, Greek, Latin, Hittite, Armenian, Celtic, and Germanic languages. In the remainder of the book, Watkins examines in detail the structure of the dragon/serpent-slaying myths, which recur in various guises throughout the Indo-European poetic tradition. He finds the "signature" formula for the myth--the divine hero who slays the serpent or overcomes adversaries--occurs in the same linguistic form in a wide range of sources and over millennia, including Old and Middle Iranian holy books, Greek epic, Celtic and Germanic sagas, down to Armenian oral folk epic of the last century. Watkins argues that this formula is the vehicle for the central theme of a proto-text, and a central part of the symbolic culture of speakers of the Proto-Indo-European language: the relation of humans to their universe, the values and expectations of their society. Therefore, he further argues, poetry was a social necessity for Indo- European society, where the poet could confer on patrons what they and their culture valued above all else: "imperishable fame."

This high-fantasy novel brings to life a lively array of characters ranging from brave knights to talented wizards to powerful elves, bearing ensorcelled weapons and curses, all on personal quests to seek fame and fortune by killing a dragon.

Three years after an accident took eleven of her classmates and the use of her legs, fourteen-year-old Lacy, a classmate, their siblings, and a neighbor must battle evil incarnate.

The darkness holds more than secrets... Marked for death and on the run from the Wild Hunt, Sabine has managed to evade her fate for over a decade. But when a charming stranger with a hidden power enters her life, she is drawn into a perilous mission that threatens to shatter her veil of secrecy. Sabine is the key to unlocking a powerful artifact's defenses, but doing so means exposing her true identity and darkest secrets. In a world where the deadliest monsters don't always lurk in shadows, Sabine's battle for survival is only beginning. To Kill a Fae is the first novel in The Dragon Portal series, a romantic epic fantasy adventure featuring fae, dragons, and demons. This is an action-packed romantasy that will keep you on the edge of your seat into all hours of the night. Perfect for fans of Sarah J. Maas, Jennifer L. Armentrout, T.A. White, and Leigh Bardugo.

There is a story about Kara and dragons. When she was four, she came down with vermillion fever. Her parents, thinking there was no cure, left her in a cave to die. A month, later she walked back into her parents’ home as healthy as if she had never been sick. It is said that a mother dragon lived in that cave, and she nursed young Kara back to life. Now, eleven years later, the only reminder of Kara’s illness is a small scar on her cheek. Of her contact with the dragon, there is more. Her eyes, which once were blue, are now green. And she can call down birds, which many believe is a sign that she can also call down dragons, for the two are distant cousins. Only Kara has her doubts. How can a beast as huge and terrifying as a dragon be related to a sweet, gentle bird? But could this explain why the king has sent for her? Does he think she has power over dragons? For Kara, the answer to this question means life or death—not only for her, but for all the dragons.

Chronicles the adventures and misadventures of Hiccup Horrendous Haddock the Third as he tries to pass the important initiation test of his Viking clan, the Tribe of the Hairy Hooligans, by catching and training a dragon.

In How to Kill a Dragon Calvert Watkins follows the continuum of poetic formulae in Indo-European languages, from Old Hittite to medieval Irish. He uses the comparative method to reconstruct traditional poetic formulae of considerable complexity that stretch as far back as the original common language. Thus, Watkins reveals the antiquity and tenacity of the Indo-European poetic tradition. Watkins begins this study with an introduction to the field of comparative Indo-European poetics; he explores the Saussurian notions of synchrony and diachrony, and locates the various Indo-European traditions and ideologies of the spoken word. Further, his overview presents case studies on the forms of verbal art, with selected texts drawn from Indic, Iranian, Greek, Latin, Hittite, Armenian, Celtic, and Germanic languages. In the remainder of the book, Watkins examines in detail the structure of the dragon/serpent-slaying myths, which recur in various guises throughout the Indo-European poetic tradition. He finds the "signature" formula for the myth--the divine hero who slays the serpent or overcomes adversaries--occurs in the same linguistic form in a wide range of sources and over millennia, including Old and Middle Iranian holy books, Greek epic, Celtic and Germanic sagas, down to Armenian oral folk epic of the last century. Watkins argues that this formula is the vehicle for the central theme of a proto-text, and a central part of the symbolic culture of speakers of the Proto-Indo-European language: the relation of humans to their universe, the values and expectations of their society. Therefore, he further argues, poetry was a social necessity for Indo- European society, where the poet could confer on patrons what they and their culture valued above all else: "imperishable fame."

Nineteen fiery dragon stories from the world’s best fantasy writers Whether portrayed as fire-breathing reptilian beasts at war with humanity or as noble creatures capable of speech and mystically bonded to the warriors who ride them, dragons have been found in nearly every culture's mythology. In modern times, they can be found far from their medieval settings in locales as mundane as suburbia or as barren as post-apocalyptic landscapes - and in THE DRAGON BOOK, today's greatest fantasists reignite the fire with legendary tales that will consume readers' imaginations.With stories by NEW YORK TIMES bestselling authors Jonathan Stroud, Gregory Maguire, Garth Nix, Diana Gabaldon, Tamora Pierce, Harry Turtledove, Sean Williams and Tad Williams as well as tales by Naomi Novik, Peter Beagle, Jane Yolen, Adam Stemple, Cecelia Holland, Kage Baker, Samuel Sykes, Diana Wynne Jones, Mary Rosenblum, Tanith Lee, Andy Duncan and Bruce Coville.