Beyond the Dark Portal (World of Warcraft, Book 4) by Christie Golden, Aaron Rosenberg

By Christie Golden, Aaron Rosenberg

The getting older orc shaman Ner'zhul has seized keep watch over of the Horde and reopened the darkish Portal. His brutal warriors once more encroach upon Azeroth, laying siege to the newly built stronghold of Nethergarde hold. There, the archmage Khadgar and the Alliance commander, Turalyon, lead humanity and its elven and dwarven allies in battling this new invasion.

then again, irritating questions come up. Khadgar learns of orcish incursions farther in a foreign country: small teams of orcs who appear to pursue a target except basic conquest. Worse but, black dragons were sighted in addition, and so they seem to be supporting the orcs. To counter Ner'zhul's darkish schemes, the Alliance needs to now invade the orcs' ruined homeworld of Draenor. Can Khadgar and his partners cease the nefarious shaman in time to stave off the destruction of 2 worlds?

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The story this chapter tells is of how and why historical drama about Elizabeth emerged over the decades following her death, and of how it remained of crucial importance in her retrospective refashioning as an icon of lost national and theological wholeness over the remainder of the seventeenth century—not only on the London stage but in pamphlets, pageants, and poems. Part of this story is about how Elizabeth’s womanhood, a disabling problem for her popularity at the end of her reign, became an opportunity for her chroniclers after her death, often helping their refashioned, much-desired Elizabeth to exceed her official role in or as the state and to serve as a figure for Church, crown, City, and country all at once.

She smiled amd flung up her head with pride. ’ ‘I don’t believe you,’ he said with soft challenge. ’ She walked alone into the void. The corridor was gone and the light at the end of it; the darkness around her was absolute. She mastered a scream and held out one hand. ³⁴ And so the story ends, with Elizabeth and Leicester united forever, rather in the manner of the transparent ghosts of Cathy and Heathcliff who rise from their respective graves and run away over the moors together at the end of the  film adaptation of Wuthering Heights.

At the end she is silent and isolated, outside life and history alike, as the offstage chorus quote from the masque of Time’s truce with Concord which had celebrated Elizabeth as an evergreen rose in act : (Cecil disappears. )  (unseen). Green leaves are we, Red rose our golden Queen, O crowned rose among the leaves so green! What is perhaps most striking about Britten’s opera, though to us it may seem its most obvious and predictable (even congenial) ç  ! Introduction feature, is the mood of regret and nostalgia with which the composer evokes the dead Queen, lovingly recreating Elizabethan pageantry and Elizabethan cadences as he does so.

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