By Hays' reasoning, penetrating a rectum with a penis is a violation of how God meant humans to function. However, penetrating a human body with a sword, a common way to kill people in biblical times, is acceptable. Apparently human bodies were designed to be penetrated by metal implements, but not by flesh.
Nobody can tell you about that sword all that there is to be told of it; for those that know of those paths of Space on which its metals once floated, till Earth caught them one by one as she sailed past on her orbit, have little time to waste on such things as magic and so cannot tell you how the sword was made, and those who know whence poetry is, and the need that man has for song, or know any one of the fifty branches of magic, have little time to waste on such things as science, and so cannot tell you whence its ingredients came. Enough that it was once beyond our Earth and was now here amongst our mundane stones; that it was once but as those stones, and now had something in it such as soft music has; let those that can define it.
Man looks very coward and extremely primitive with an ostentatious big sword and he looks very brave and tremendously sophisticated with a humble olive branch!
When you fear nothing, you have nothing to fear
If there’s a zeppelin, it’s alternate history. If there’s a rocketship, it’s science fiction. If there are swords and/or horses, it’s fantasy. A book with swords and horses in it can be turned into science fiction by adding a rocketship to the mix. If a book has a rocketship in it, the only thing that can turn it back into fantasy is the Holy Grail.
They fought because they loved the dance, and the weight of a sword in their hands. The clash and spark of metal and hiss of flame was like music written just for them. They fought for glory, but not for blood. They were Weirlind, heirs of the warrior's stone. And they always slept better with blades beneath their beds.
I remember laughing at that moment, and I remember my son frowning at me in puzzlement. What I remember best of all, though, was the sudden certainty that the gods were with me, that they would fight for me, that my sword would be their sword. ‘We’re going to win,’ I told my son. I felt as if Odin or Thor had touched me. I had never felt more alive and never felt more certain. I knew there would be no more mistakes and that this was no dream.I had come to Bebbanburg and Bebbanburg would be mine.
As I stated earlier, I do not believe there is anything inherently wrong with even the most overused elements of epic fantasy. Magic swords, dragons, destined heroes -- even dark lords and ultimate evils can legitimately be used in literature of serious intent, not just mocked in satirical meta-fiction. To claim that they cannot would be much the same as claiming that nothing good can ever again be done with fiction involving detectives, or young lovers, or unhappy families. The value of a fictive element is not an inherent quality, but a contextual one, determined by its relationship to the other elements of the story it is embedded in.In other words, whether a scene in which a dragon is introduced is affecting, amusing, or agonizingly dull depends primarily on the choices made by the scene's author. I say "primarily" because dragons have appeared in thousands of stories over the centuries, and almost any reader may be presumed to have been exposed to at least one such. The reader's reaction will naturally be influenced by how they feel this new dragon compares to the dragons which they have been introduced to in the past. (Favorably, one would hope. A dragon must learn to make a good first impression if it is to do well in this life.) Such variables are out of the author's control, as are any unreasoning prejudices against dragons on the part of the reader. All that can be done is to make the dragon as vivid and well-suited for its purpose as is possible. If all the elements of fantasy and fiction in a work are fitted to their purposes and combine to create a moving story set in a convincing world, that work will presumably be a masterpiece.
Those were great big angry men with sharp swords actually wanting to cut pieces off me. It’s not until you’ve seen a red gaping wound and all the complex little bits inside a man all broken up and sliced open, and known that they weren’t ever getting back together again, and vomited your last two meals over the rocks . . . it’s not until then that you understand the business of swords properly and, if you’re a sensible man you vow to have nothing to do with it ever again.
But for today, my friends, we have the Sword and the Promise," Creedus said. With the fire again rising, he bent low to the ground and grabbed the sword that had been lying at his feet. As he pulled it slowly from its scabbard, it sang softly. With a light all of its own, an emblem at the base of the blade shone most brilliantly of all: Amilum.