Hello, Writeblr! I hear it's polite to introduce oneself around these parts, so here it is: my Writeblr Intro (ta-dahhh)

Identification: Amanda La Crystallen (she/her). You can call me Amanda-La or La Crystallen.

Generation: Hobbit

Location: West Coast in the streets, East Coast in the sheets! Currently Nor-Cal, but if I need to hydrate, I'm asking for the bubblah.

Facts that are definitely fast and hopefully also fun:

Escaped Evangelical

Recovering perfectionist

Neurospicy

Adopted

Collector of sunglasses, lip color, socks, vinyl, and spare onewheel parts I'll probably never use again.

Writing and WIP details below the fold.

Genre(s): Spec fic, esp. fantasy; YA and/or "new adult" (is that a thing? Did "new adult" happen?); generally whimsical

Influences: Terry Pratchett, Scott Westerfeld, Charlie Jane Anders, Christopher Moore, "His Dark Materials," "Welcome to Night Vale," prob will add more to this list later

WIPs (I'm making this plural even though I only have one right now. Maybe I can trick myself into writing more??)

Necromancer Unleashed!

A subverted kids' book (think "Bunnicula" for grown-ups) about a dog who accidentally learns to raise the dead. Told through the eyes of pets around the neighborhood, "Unleashed!" is a tail—woof, I meant tale—about dogs that's secretly about people, and what happens to all of us when it's time to cross the Rainbow Bridge. Like all good stories, this one starts with a smell...

Vibe: Spooky slice-of-life. Hygge horror. Equal measures silly and poignant—or at least that's the goal!

Tags: #necromancer unleashed! #Homer's modern odyssey

A few notes on Odyssey rhapsody δ

Menelaus had a son from a slave after Helen left with Paris. Maybe this is why he named this son «Μεγαπένθης» (Megapénthes), from μέγα (mégha) and πένθος (pénthos), meaning “great grief”!

It’s interesting that after Helen returns to her first husband, she is treated exactly like a respectable queen whose honour is not to be questioned. Nobody talks poorly of her, except she for herself. She arrives at the welcoming dinner for the guests (Telemachus and a son of Nestor) with splendor, slaves take care to make her seat both comfortable and luxurious. She partakes in the conversation of the men, she even guesses Telemachus’ identity more directly than Menelaus dared and Menelaus appears agreeable to her. ….Then she also kinda gets them high with some “herbs” 😂

Back to this recent post, everyone was losing their minds with propriety but neither the Trojans nor the Greeks had a problem with her rubbing naked Odysseus with oil 😂😂😂

There is a reference that when there were festivities in a house / palace, guests arrived with their wives and participated all together.

The very common Greek saying «λύνονται τα γόνατα», which exactly means “the knees dissolve” and it is a saying to express that someone is paralysed (λύση “lyse” or λύσις “lysis” is this exact word, meaning solution or untying or dissolving or coming undone) by a shock or some other distressing situation, has apparently very ancient origin as it makes an Homeric appearance in this very rhapsody, when Penelope’s knees “come undone” after she learns the suitors scheme to trap and kill Telemachus.

i am watching the princess bride for the first time ever (don’t judge) and you guys have no idea how epic cycle coded this is

When you take into account how the illiad and the odyssey had a rhythm you realize they probably slapped as hard as Hamilton does in their OG language

big fan of things ending. for good, even.

drew Odysseus. Eh not final over all design but like I’m working on it lol. But this is him in this shirt in my modern au. Enjoy.

Matisse, Polyphème, 1935

James Joyce's Ulysses: Literary Masterpiece or Incomprehensible Nonsense?

Introduction James Joyce's "Ulysses" has long been a subject of both admiration and bewilderment within the literary world. As we embark on an exploration of this iconic work, we delve into the layers of experimental writing, linguistic complexity, and the enduring debate over whether "Ulysses" stands as a literary masterpiece or an incomprehensible enigma. Outline of the Article - Introduction - Brief overview of James Joyce's "Ulysses" - Mention of the ongoing debate about its literary value - Background of James Joyce - Insight into Joyce's life and influences - Overview of Joyce's significance in modernist literature - Ulysses: An Overview - Brief summary of the plot and main characters - Highlighting the novel's setting in Dublin on a single day (June 16, 1904) - Joyce's Experimental Writing Style - Exploration of the stream-of-consciousness technique - Discussion on linguistic and narrative experimentation - Complexity of Language in Ulysses - Analysis of the intricate language and wordplay - Impact on reader comprehension and interpretation - Themes Explored in Ulysses - Examination of key themes such as identity, time, and consciousness - Discussion on how these themes contribute to the novel's complexity - Literary Allusions and References - Exploration of the vast array of historical and literary references - Impact on the reader's understanding and engagement - Critics' Perspectives on Ulysses - Overview of both praise and criticism from literary critics - Discussion on how the novel has been received over time - Reader Responses to Ulysses - Analysis of diverse reader reactions and interpretations - Consideration of the novel's accessibility to different audiences - Influence on Modernist Literature - Exploration of Ulysses' impact on the development of modernist literature - Consideration of its place in the literary canon - Comparative Analysis with Other Joyce Works - Brief comparison with other notable works by James Joyce - Highlighting similarities and differences in writing style - Contemporary Relevance of Ulysses - Discussion on whether Ulysses remains relevant in the present day - Consideration of its influence on contemporary literature - Common Misconceptions About Ulysses - Addressing and debunking prevalent myths about the novel - Clarification on aspects often misunderstood by readers - Conclusion - Summarization of key points discussed in the article - Personal reflection on the ongoing debate surrounding Ulysses - FAQs After The Conclusion - Five unique Frequently Asked Questions addressing common inquiries about Ulysses.

James Joyce's Ulysses: Literary Masterpiece or Incomprehensible Nonsense?

What makes James Joyce's writing style unique in "Ulysses"? James Joyce's writing style in "Ulysses" is a unique and groundbreaking departure from conventional literary norms. His unparalleled innovation lies in the seamless fusion of diverse narrative techniques that create a tapestry of complexity. At the heart of Joyce's uniqueness is his mastery of the stream-of-consciousness technique, where the inner thoughts and feelings of characters flow unfiltered onto the page. This technique immerses readers in the characters' minds, offering an intimate and sometimes fragmented experience of their consciousness. Moreover, Joyce's use of linguistic experimentation adds another layer to his distinct style. He plays with words, creating neologisms, portmanteau words, and multilingual expressions that reflect the polyphonic nature of modern urban life. This linguistic innovation challenges readers to engage actively with the text, decoding its richness and uncovering layers of meaning. As for the structure, Joyce adopts a non-linear narrative that mirrors the episodic structure of Homer's "Odyssey." This cyclical approach reflects the recurring patterns in life, creating a multi-layered reading experience. The complexity of "Ulysses" lies not just in its narrative structure but also in the extensive use of allusions, symbolism, and intertextuality, inviting readers to explore a vast literary and cultural landscape. List of Best James Joyce Books: - "Dubliners": A collection of short stories capturing the everyday lives of Dublin's residents, "Dubliners" explores themes of paralysis and epiphany, providing a nuanced portrait of early 20th-century Dublin. - "A Portrait of the Artist as a Young Man": This semi-autobiographical novel follows the intellectual and spiritual development of Stephen Dedalus, a young man grappling with his identity and artistic aspirations in Catholic Ireland. - "Ulysses": A modernist masterpiece, "Ulysses" chronicles a day in the life of three characters in Dublin, drawing parallels to Homer's "Odyssey." Joyce's experimental narrative techniques and linguistic innovation make it a landmark work in literature. - "Finnegans Wake": Joyce's final and most enigmatic work, "Finnegans Wake," is a linguistic and literary puzzle that explores the cyclical nature of history, dreams, and language. Its dense prose challenges readers with its multilayered meanings. - "The Dead" (from "Dubliners"): The closing story of "Dubliners," "The Dead" is a poignant exploration of mortality and the nuances of relationships, set against the backdrop of a festive gathering. - "Exiles": A play that delves into themes of love, betrayal, and self-discovery, "Exiles" explores the complexities of relationships and the consequences of pursuing one's desires. - "Chamber Music": Joyce's debut poetry collection, "Chamber Music," is a lyrical exploration of themes of love and beauty. The poems showcase his early experimentation with language and expression. - "A Little Cloud" (from "Dubliners"): This short story from "Dubliners" portrays the internal struggle of Little Chandler, a poet torn between his dreams of literary success and the responsibilities of family life. - "The Sisters" (from "Dubliners"): Opening "Dubliners," "The Sisters" introduces readers to the theme of paralysis, as a young boy reflects on the death of his mentor, the paralyzed priest Father Flynn. - "Araby" (from "Dubliners"): In "Araby," a young boy's infatuation with his neighbor leads to a disillusioning experience at a local bazaar, exploring themes of innocence and the harsh realities of adulthood. Background of James Joyce To truly understand "Ulysses," we must first glimpse into the life of its creator, James Joyce. Born in Dublin in 1882, Joyce's experiences, including his Irish heritage and exposure to various European cultures, profoundly influenced his unique approach to literature. A key figure in modernist literature, Joyce's impact extends beyond the pages of his works. Ulysses: An Overview "Ulysses," set against the backdrop of Dublin on a single day, follows the experiences of its characters, notably Leopold Bloom and Stephen Dedalus, mirroring the events of Homer's "Odyssey." This ambitious narrative unfolds on June 16, 1904, a date now celebrated as Bloomsday, and captures the intricacies of everyday life in a profound and complex manner. Joyce's Experimental Writing Style One of the defining features of "Ulysses" is Joyce's experimental writing style. Employing the stream-of-consciousness technique, Joyce takes readers deep into the minds of his characters, unraveling thoughts and emotions in real-time. This approach, though challenging, offers a unique lens into the inner workings of the human psyche. Complexity of Language in Ulysses As readers navigate through "Ulysses," they encounter a linguistic labyrinth. Joyce's intricate wordplay, multilingualism, and manipulation of language present both a challenge and an opportunity. The complexity of language in "Ulysses" adds layers of meaning, requiring readers to decipher and interpret with heightened attention. Themes Explored in Ulysses Beyond its linguistic complexity, "Ulysses" explores profound themes. From the quest for identity to the fluidity of time and consciousness, Joyce weaves a tapestry of ideas that transcends the ordinary. These themes contribute to the novel's depth and have fueled countless interpretations. Literary Allusions and References Joyce's magnum opus is a treasure trove of literary and historical references. With meticulous detail, he incorporates elements from mythology, literature, and Dublin's history. This rich tapestry of allusions deepens the narrative, demanding readers to engage with a multitude of cultural and intellectual threads. Critics' Perspectives on Ulysses Unsurprisingly, "Ulysses" has evoked diverse reactions from literary critics. While some celebrate its audacity and innovation, others criticize its perceived impenetrability. The range of perspectives highlights the polarizing nature of Joyce's work and the ongoing debate over its place in the literary canon. Reader Responses to Ulysses Readers, too, bring varied perspectives to "Ulysses." Some revel in the intellectual challenge it presents, finding joy in decoding its complexities. Others, however, express frustration at the novel's perceived inaccessibility. Understanding these diverse reactions enriches the ongoing discourse surrounding "Ulysses." Influence on Modernist Literature The influence of "Ulysses" extends far beyond its initial publication. It stands as a cornerstone in the development of modernist literature, influencing subsequent generations of writers. Joyce's groundbreaking narrative techniques and exploration of consciousness have left an indelible mark on the literary landscape. Comparative Analysis with Other Joyce Works To comprehend the significance of "Ulysses," a brief comparison with other works by Joyce is warranted. Contrasting it with "A Portrait of the Artist as a Young Man" or "Dubliners" reveals both continuity and evolution in Joyce's narrative style, providing valuable insights into his literary journey. Contemporary Relevance of Ulysses As we consider the contemporary relevance of "Ulysses," questions arise about its enduring impact. Does Joyce's masterpiece continue to resonate with readers today? Examining its influence on contemporary literature and its ability to provoke intellectual discourse offers clues to its ongoing relevance. Common Misconceptions About Ulysses Addressing misconceptions surrounding "Ulysses" is essential for a nuanced understanding. Often criticized for its perceived difficulty, the novel is unfairly branded as incomprehensible. Dissecting and dispelling these myths allows readers to approach "Ulysses" with fresh eyes and an open mind. Conclusion In conclusion, the debate over whether "Ulysses" is a literary masterpiece or incomprehensible nonsense persists. James Joyce's bold experimentation challenges readers, demanding an active and engaged encounter with the text. As we navigate the complexities of "Ulysses," the decision about its merit rests with each reader, influenced by individual perspectives and literary inclinations.

FAQs :

What is the message of the poem Ulysses? The poem "Ulysses" by Alfred Lord Tennyson conveys the enduring spirit of human exploration and the pursuit of knowledge. Ulysses, the legendary Greek hero, reflects on his past adventures and expresses his desire for new experiences and challenges in his later years. The poem celebrates the indomitable human spirit that seeks meaning and purpose, even in the face of aging and mortality. Ulysses urges readers to embrace life's challenges and continue the quest for self-discovery. What is the main idea of the poem Ulysses? The main idea of "Ulysses" revolves around the theme of a relentless quest for adventure and knowledge. Ulysses, having experienced numerous trials and triumphs, expresses discontent with a mundane life. The poem emphasizes the importance of pursuing one's passions and living life to the fullest, regardless of age or circumstance. Ulysses rejects complacency and embraces the idea that there is always more to explore, encouraging a continual search for meaning and excitement. What is the moral of the story of Ulysses? The moral of Ulysses' story lies in the importance of embracing a life filled with purpose and continuous exploration. Ulysses teaches us not to settle for a sedentary existence but to seek challenges and intellectual stimulation. The poem suggests that the pursuit of knowledge and adventure is a noble endeavor, contributing to personal growth and fulfillment. What does Ulysses symbolize? Ulysses symbolizes the human spirit's eternal yearning for discovery and intellectual growth. His character represents resilience, the refusal to succumb to stagnation, and the pursuit of personal and intellectual fulfillment. Ulysses becomes a universal symbol for those who seek meaning and excitement throughout their lives. What style of writing did James Joyce use? James Joyce is renowned for his avant-garde and experimental writing style, particularly evident in his masterpiece, "Ulysses." He employed stream-of-consciousness narration, a technique that delves into characters' inner thoughts and feelings. Joyce's writing is characterized by intricate linguistic play, innovative narrative structures, and a profound exploration of the complexities of human consciousness. What makes Joyce's writing unusual? James Joyce's writing is distinctive for its complexity, experimental techniques, and departure from conventional narrative norms. He often incorporates multiple perspectives, intricate wordplay, and symbolic layers. Joyce challenges readers with his unconventional storytelling, pushing the boundaries of traditional literature and inviting them to actively engage in deciphering the nuanced layers of meaning within his works. What is the narrative technique in James Joyce's Ulysses? In "Ulysses," Joyce employs a stream-of-consciousness narrative technique, immersing readers in the inner thoughts and perceptions of the characters. This technique provides a subjective and multifaceted view of events, capturing the continuous flow of consciousness. Joyce's narrative experimentation in "Ulysses" revolutionized the portrayal of human thought processes in literature. What is the famous writing of James Joyce? James Joyce's most famous work is "Ulysses," a groundbreaking modernist novel that explores the experiences of three characters in Dublin on a single day. Regarded as one of the greatest novels of the 20th century, "Ulysses" showcases Joyce's innovative narrative techniques and profound insights into the human condition. Sources: - Joyce, James. Ulysses. 1922. - Ellmann, Richard. James Joyce. Oxford University Press, 1982. - Gifford, Don, and Seidman, Robert J. Ulysses Annotated: Notes for James Joyce's Ulysses. University of California Press, 1988. Read the full article

You Are Odysseus

So

I’m a teacher of Classical Civilisation that has taught the Odyssey for over a decade and studied pretty much every myth and story with Odysseus in it.. I think

and I’m writing an Interactive Fiction (choose your own path) version of the Odyssey, inspired by the Homeric phrase “he turned his great heart this way and that”, where you are Odysseus, allowing you to follow his decisions or make your own

and it already has 400 sections to it - written to emulate modern translations of the Odyssey, including the literary features of simile, formula, epithet, and the rest - and 21 different ways to die, and quite a lot of period and theme-appropriate alternatives

(and if I get time, the option to be Telemachus or Penelope, although that might have to wait because it’s already a monster)

and I’ve tested what I’ve made so far on my pupils, other Classics teachers, and some of the leading (and best-read) Greek Mythology podcasters and YouTubers, all of whom have universally loved it (yay!)

(EDIT: Oops and I presented on it at the Classical Association conference last year)

I’m trying to finish it this summer, but need a bit of encouragement to do so

EDIT: and I forgot to say that ideally I’m planning on it being a beautiful BOOK with an old-fashioned cover and lots of ribbons to mark your place ❤️ (ex-bookseller ofc)

so, please let me know if you’d like to know more!

(EDIT: or sign up here go get notified directly when it’s ready: https://ljenkinsonbrown.wordpress.com/you-are-odysseus-signup/ )

when i insist on odysseus as a rape victim i'm not trying to absolve him of patriarchy. he is, in many ways, a hero of patriarchy. even if i think some of the people who use him that way rhetorically have probably not read the odyssey, let alone understood its nuances, the cultural world of the poem and the narrative itself are patriarchal, and odysseus is both a product and perpetrator of that. but when i read about calypso forcing odysseus to have sex with her, i will still call it rape, not because i like him as a character, although i do, but because i think to not do so reveals a very troubling attitude toward rape and patriarchy in the ancient context and now.

i've tried and tried but i don't know how to have this conversation with someone who is determined not to accept the premise that, in the text of the odyssey, odysseus has no choice in the matter. if they've read the text, it's right there. from what i can read of the greek, it's there (ἀνάγκη, force, constraint). i've never read a translation where it wasn't there. if they just don't care, that pretty much kills the discussion.* but sometimes they'll try to sidestep it, bringing up that the text implies he slept with calypso willingly at some point, or arguing that she doesn't explicitly compel him on the last night they spend together before he leaves ogygia forever.** to be frank, that's not the point. i'm not trying to absolve him even of the accusation of cheating on penelope. i'm not saying he was faithful to penelope. i'm saying he was still, at the point that we meet him in the odyssey, raped. period. i'm saying that's important in some way. i'm saying that using that word is important.

odysseus has power, as a man in a patriarchal society, but that power is not absolute. power is never absolute. i've heard it suggested that in the ancient context, the rape of odysseus is comic, in the sense of affirming life even in its indignities, and in the sense that humiliation is amusing (i have a lot of disagreements with the article, but it has given me endless food for thought). i'm quoting at length here, but bear with me:

Athena leaves Odysseus lingering on Calypso’s island in what is certainly the most unheroic, most challenging of all the trials that befall him on his return home. The narrator describes Odysseus as desperately wanting to leave Ogygia, crying in homesickness, but having to stay and, more to the point, share Calypso’s bed. I mentioned much earlier that an audience of that period would not expect celibacy from a married male away from home. Yet the situation must produce, it seems to me, quite another reaction in the males in the audience when the narrator emphasizes Odysseus’ profound unhappiness with the arrangements. In a patriarchal society of that time, where marriages were arranged and wedding nights were more likely than not sanctioned rape scenes, households teemed with female slaves, the highways and byways with prostitutes, men were no doubt accustomed from puberty to have their way easily with women, and on their own terms. Nothing in their experience would prepare them for enforced sexual servitude to a woman. [...] With this episode, the narrator has introduced a comic counterpart to the ubiquitous comments on the faithful Penelope’s celibacy, that is, the image of her husband manfully performing his nightly duties in the home of the insatiable Calypso. It is comic, yes, but also every man’s deepest fear.

why is it comic? because it's a reversal of expectation, of roles, of fortune. why is it unexpected? because it exploits the fear that a man could be treated by a woman the way he treats a woman; because a woman becomes monstrous by acting like a man. these are misogynistic ideas and fears, and they sound strikingly modern.

which means that: i understand the impulse to salvage calypso's image. i understand how it could be interesting or productive or empowering maybe, for some women, because homer is so concerned with any fault in penelope's sex life (reinforced by clytemnestra’s, and those of the slave women that odysseus and penelope own) and seemingly not at all with odysseus’. but calypso is arguing for the right of female gods to treat human beings however they want to, not for the rights of human women.

it also means that: the rape of odysseus becomes remarkable, when the rape of countless others is not, because of who he is. it's humiliating for him to be treated like a sex slave because he's a man and a king; other slaves are just slaves. similar logic is found elsewhere in the odyssey (it's humiliating for him to be treated like a beggar, but the other beggar in the house is just a beggar). this is not a text that believes in equal rights of any kind. but i think we have to ask the question, is it not rape because of that? should we not call it rape because he's a man, because he's a man who perpetrates specific evils, because other people have it worse? and why do i keep arguing that his situation is important to remark on?

god. i don't know. sometimes? just because we don't.

i've lost count of posts like this, comments like this, attitudes like this, of how many times i mention the odyssey and immediately hear about calypso, of how at best odysseus weeping on ogygia becomes the butt of the joke. and i'm not sorry that i don't find it more progressive than treating calypso as a shrill misogynistic stereotype. i do not find it interesting or original to take a man who is not in the position of power in a sexual encounter and say that he's being either disingenuous, ungrateful, or mystifying.

when we refuse to name what calypso does to odysseus as rape, absolutely regardless of what we feel for him, just that it happened, that that's what's going on, i think we do something sinister, potentially to real people. especially because this exists in a text where slavery is also often unnamed in translation and discussion, and other forms of rape and captivity and human suffering, and i think we need to name them all, without being afraid that naming one will take away from the others. saying odysseus was raped doesn't mean we excuse the intense misogyny penelope is subjected to, the enslaved lives of melantho and the other hanged women. it all matters. it's all important.

*as does the suggestion that odysseus could be lying and actually had a great time. but odysseus isn't the one telling us what's going down on ogygia; the narrator is. when given the opportunity, odysseus himself says very little, only maintaining that his heart wasn't in it. of course odysseus could be lying. he could always be lying. but calypso is the most relevant counter-perspective we have, and even she doesn't claim that odysseus wants her, just that she thinks he ought to be happy with her. it's to her obvious frustration that he isn't. without another authority in the text, saying "it could be straight lies" is a conversational dead-end.

and if, by the way, there's a lost version of the odyssey in which odysseus was philandering, and the version we have was written to clear him of those charges... it's still the version we have. how we deal with it says something about us.

**if i say "calypso raped odysseus" and a hypothetical person (actually several real people i have encountered) makes this counterargument, that implies that the threat of force is, then, what? not real? if 'at some point' being willing means that the harm of whatever came after that point is negated, it casts him as someone who mopes around out of boredom with an equal partner, when the text seems much clearer on the point that he's in this position against his will than under what circumstances and for how long he might have slept with her willingly. they are clearly not equals by the mere fact that she is a goddess; his mortality is, in calypso's eyes, the barrier between them. rip to everyone who finds the decision to leave ogygia a "surprising choice" but i am never less surprised by odysseus than when he's handling calypso as delicately as possible, in order to leave her as fast as he can.

We're so used to referring to Apollo and Artemis as Divine Twins, but did you know that the earliest known Ancient Greek sources do not explicitly denote the two as being twins?

That isn't to say one text depicting a myth is more correct than the other - but I so rarely see mentions of Apollo and Artemis as not twins that I find it all the more dear. There is beauty in Solar and Lunar twins - but I also see the same beauty in siblings who are not predetermined to be each other's mirror by the fact of birth.

The first mention of Apollo's name in the Ancient Greek texts is in the Homeric Hymn to Apollo (3), trans. by Hugh G. Evelyn-White:

Here's a link to the original.

They are not explicitly called twins and They have different birthplaces: Apollo's birthplace is Delos, Cyclades - Artemis is born in a place named Ortygia. It should be stated that only Apollo's birth is given any sort of detail, and it is unclear where Ortygia was.

Ortygia (center of modern Syracuse named after the Greek word for quail) in Sicily has been known to Greek colonizers since around the 8th century BCE, Homeric Hymns date to approximately the 7th-6th century BCE. It's possible that Artemis was born there. In this case, the locations are separated by the Ionian sea and a large part of Greece. Delos is a small island to the North from Naxos and right at the Southern ridge of Mykonos, Ortygia in Italy is the Eastern part of Sicily:

Ortygia could also be attributed to a large number of other places. Strabo (63 BCE - 24 AD) in his Geography (10.5.5) stated that Ortygia is but an old name for Delos or for Rheneia, a small island in the Cyclades:

Rheneia is a desert isle within four stadia from Delos, and there the Delians bury their dead; for it is unlawful to bury, or even burn, a corpse in Delos itself, and it is unlawful even to keep a dog there. In earlier times it was called Ortygia.

Though earlier in the same book (6.2.4) he argues that Ortygia might also be in Sicily. He gives a detailed explanation of what we now know as the Old Town of Syracuse:

Ortygia is connected with the mainland, near which it lies, by a bridge, and has the fountain of Arethusa, which sends forth a river that empties immediately into the sea.

— The Geography of Strabo, Books 1-5 translated by Hamilton and Falconer

Ortygia is also a placename attested to different parts of Greece. For example, in Homer's Odyssey (5.123), a much earlier text, Artemis kills Orion in Ortygia and the place is not anyhow noted to be connected to Delos:

<...> until in Ortygia chaste golden-throned Artemis attacked with her painless darts and killed him.

— The Odyssey of Homer, translated by James E. Huddleston

Hymn to Apollo is not the only Ancient text predating any mention of "twins" that did not specify that the two were born at the same time. Hymn to Artemis (27) calls the Gods a brother and a sister while Hymn to Artemis (9) indicates that They were raised together (ὁμότροφον) without a notion of the circumstances of Their birth. Those are the earliest sources we know of, but there were many other authors and traditions that followed, some of which were:

Homer in the Iliad makes Them a son and a daughter of Leto

Hesiod mentions them being born from the same mother

Neither describe the two as twins.

Apollodorus in his Bibliotheca (1.4.1.) makes Artemis be a first-born so She serves as a midwife for Apollo

Plutarch in Pelopidas states that Apollo was born in Tegyra, Boeotia

Some later sources (Callimachus, Servius) consider Artemis to be first-born while some (Hyginius) do not specify on time of birth.

The first - and most prominent - author to speak of the Divine Twins is Pindar (518-438 BCE) in his Olympian odes (3.35), here he refers to Them as twins of Leda. At the same time, in the Nemean odes (1.1) he calls Ortygia in Sicily Artemis' birthplace and "sister to Delos" (might be metaphorical, as in sister-state). Orphic Hymn 35 to Leto (1st-3rd AD?) also calls Them twins.

It should probably also be noted that the cult of Artemis and the cult of Apollo are not always interconnected. While some locations (such as Delos and Ortygia, Sicily) have a history of implementing both Deities into the same votive tradition, some (Didyma, Claros) have worship of the Gods completely disconnected from each other. It is likely worth another post, but worship of Apollo didn't necessarily imply His sister, and vice versa.

With all of this being said, I do not believe that one version of the story is above another. And while I do find it fascinating - and logical - that the idea of Apollo and Artemis being twin-Deities has taken root, I do appreciate other, older and not, versions of the same legend.

Okay, I've kind of put this in tags of different posts but I want a full post about it.

Since the first time I listened to Epic: The Musical (what had been released thus far) certain parts of the story have bugged me a little bit. (STAY WITH ME, THIS ISN'T A HATE POST). Odysseus seemed different from Homer's Odysseus in a way that I couldn't fully explain. I thought that perhaps it was motivation (honor vs. family, etc), which it is to an extent, but that's not fully it.

Disclaimer: when I talk about "the ends justifying the means" I mean evil means justifying a good end.

BUT NOW I GET WHY. In "Keep Your Friends Close", Aeolus says, "The end always justifies the means" which brought me back to my high school freshmen lit class. We read the Odyssey (and the Iliad) and basically every conversation we had on it was either: 1. Can we trust literally anything Odysseus says? 2. Do the ends justify the means? I don't have examples off the top of my head (I'll likely reblog this later with examples) but Odyssey Odysseus was ruthless. He wasn't as trigger-happy as some other Greek heroes (*cough* Achilles *cough*) but he is an ancient Greek standard for intelligence: that meant being able to kill when necessary without getting emotions involved (i.e. that time he killed Dolon in The Iliad). For Odyssey Odysseus, the ends had to justify the means.

BUT for ETM Odysseus, the ends don't justify the means. He kills Hector's baby son but he is emotionally torn up about it. He refuses to kill Polyphemus--despite Athena's demands--because he wants to be merciful. (In the Odyssey Athena and Odysseus never have this argument, btw). For ETM Odysseus, mercy is more important than making sure the job gets done. This opinion is obviously a lot more palatable for modern sensibilities.

ETM Odysseus is clever, but he isn't cunning. He is a trickster but I wouldn't call him a liar. ETM Odysseus, as a whole, is far more similar to a modern hero than an Ancient one. (I could go into how Christian morals have shaped most of Western Civilization but I'll contain myself for now). AND NOW FOR MY THESIS: ETM is a story about a modern hero in a world of ancient morals. The Odyssey is a story about the ideal ancient hero in a world of ancient morals.

But, as I said, this is NOT a hate post. I'm the daughter of two philosophy PhDs: there is little I love more than a story that explores hypothetical morals. Coming to this conclusion about the difference between the Odysseuses just makes me even more excited to keep listening to ETM.

okay, asking this question is maybe the dumbest i've ever felt bc it feels like there should be a straightforward, obvious answer here, but every time i've tried to look it up, i've found nothing but pages upon pages of what feels like people talking in circles and only serving to make me more confused in the end. since you're the most knowledgable person i follow when it comes to the Classics, i figured this might be a good place to ask and maybe get an actual answer? (that being said, it's fine if you don't want to/don't have the time to answer this! obviously!!)

where can i read about the older greek myths? as in pre-trojan war. mostly, i'm interested in theseus but also just pre-trojan war stories in general. i know not everything got the iliad/odyssey treatment and there's probably not any surviving text to point at in a lot of cases, but there must've been something. every time i try to look up where to read about the history of theseus, i'm being directed to a bunch of modern retellings, but google has gotten so bad as a search engine, i literally cannot find anything about the origins of this thing everybody's retelling

from what i understand, theseus was sort of everywhere sticking his nose in everything at all times, so i'm not asking for a comprehensive timeline of his whackass life and everything he ever appeared in or anything, but if you could point me in the direction of anything about him--actual plays or academic texts, anything like that--that's more credible than, like, a self-published, self-described "bold new reimagining" with a stock image of a dude in party city roman cosplay as the cover, it would be MUCH appreciated 😭

(again, sorry about how... basic this question is i guess lol? i'm very new to classics in general and still pretty ignorant about everything, so it's EXTREMELY likely that this is a very dumb question with a very obvious answer, but thank you regardless!)

Hello! What an exciting ask (and apologies for my excited and maybe incoherent answer)!

Since you seem to be most interested in Theseus, I’ll use him as an example but much of this can be applied to other Greek heroes/myths/stories more generally.

As you noted, few get the Iliad/Odyssey treatment. In fact, even Achilles and Odysseus don’t, considering the Iliad spans only 7 weeks or so, and the Odyssey misses out on Odysseus’s actions before and during the Trojan War, and after he came home – and he did a lot after he came home. So where to go to find all the other stories that happened?

Some things to keep in mind:

Writers assumed their audience was familiar with the hero’s greatest deeds already

The big boys – Achilles, Odysseus, Theseus, Perseus, Heracles, Oedipus – had their stories shared in many formats. Think of the Parthenon metopes, which show Theseus’s key deeds in sculpture, or vases, hymns, public performances, bedtime stories, etc. People would encounter these often enough that the outlines of these heroes’ stories were known to them from a young age.

One of the Metopes of the Parthenon, showing (probably) Athena and Theseus.

As a result, ancient texts never show the entire story; they select the moment they want to tell and focus in on that. Hence the Iliad focuses on Achilles’s wrath, the Odyssey emphasises his homecoming, and the Argonautica tells the story of the Golden Fleece. Similarly, tragedies will choose a meaningful moment: not all of Agamemnon and Clytemnestra’s struggles, but his return home in the Agamemnon, or the events that lead directly to Pentheus’s dismemberment in the Bakchai.

So finding one text that will give you a useful overview will be hard!

These heroes are often also connected to so many other famous characters, that sometimes they show up as a side character in their stories, so it depends on which stories capture your interest most.

Pre-Homeric texts are few and far between

But this is not to say there aren’t pre-Trojan-War myths!

There are loads! Anything with Heracles or Theseus is pre-Iliadic, and others, like the house of Pelops, link more to the Trojan War but are also separate from it. Plus, there is Hesiod’s Theogony (roughly contemporary with Homer), which tells of the births of the gods and goes all the way back to the start of the universe.

The Ovid situation

Many Greek texts are lost, and we’ve only got allusions to this or that part of the myth in the existing fragments, etc. etc. So how do we still know so much about so many of these stories?

Enter my fave: Ovid.

Far later than Homer (1st century versus 8th century BC), but with access to all the Greek texts and them some, he wrote a lot of fairly comprehensive stories. These include the Heroides, letters written from the perspective of female characters trying to connect to their male lovers, with letter 10 coming from Ariadne to Theseus, and Metamorphoses 8 with parts of Theseus’s story.

If you’re looking for a high-level overview of what was what in ancient myth, starting with the Metamorphoses will give you all the big boys and many of the smaller ones.

Theseus specifically:

I must admit that Theseus is not my strong suit, but sources I’m familiar with that I would recommend:

Hippolytus, by Euripides and Phaedra by Seneca: these both tell of Theseus’s second wife Phaedra falling for his son Hippolytus and causing his death

Catullus 64: A lament from Ariadne after Theseus has abandoned her on Naxos

Metamorphoses 8, 12, by Ovid: Snippets of Theseus’s life, incl the Minotaur

Ones I’m not as familiar with but might be up your street:

Life of Theseus, Plutarch: a historian/scholar’s biography. He had them in pairs, where he compared the two; Theseus is linked to Romulus

The Argonautica, Apollonius Rhodus: Follows Jason in his quest for the Golden Fleece; Theseus is one of his heroes

Oedipus at Colonnus, Sophocles: apparently Theseus is a major side character here but I don’t remember!

There is also The King must Die by Mary Renault, a modern retelling from the ‘80s that blew me away. The only book set in ancient Greece I’ve ever read that doesn’t shy away from how alien their culture and values are to us today and doesn’t try to sugarcoat things.

And if you’re looking for more heroes: Wikipedia is your friend!

The Classics-related pages are pretty reliable, and they often mention the main sources per character.  

I hope this gets you started but please do hit me up with more questions, I always love diving into these things!

Hey do you have any literature recommendations for people who want to broaden their knowledge on the classics and Greek/Roman myths without taking university courses?

So like for people (such as myself) who have read Bullfinch's Myths of Greece and Rome and Edith Hamilton's Mythology: Timeless Tales of Gods and Heroes but want to deepen their knowledge and maybe go to intermediate level type stuff. Or whatever the level above the mentioned literature is.

Well those two books are quite old and skip over quite a few things. Both are very important to our culture, historically, but I'd recommend reading through some more modern popular retellings like Stephen Fry's Mythos series if you're looking for pure entertainment and a dummy's guide to Greek myths.

The Penguin Dictionary of Classical Mythology is a useful reference book if you have difficulty keeping track of all these names and whatnot. It's just a reference book but you know. Having a reference book handy is quite useful. I personally prefer reference books when it comes to checking stuff when I'm doing mythology things anyways. They're generally more organized than the internet.

If you're looking for entertaining retellings of less popular myths, I'd actually recommend going to videos and podcasts for that. YouTubers like MonarchsFactory, Overly Sarcastic Productions, Jake Doubleyoo, and Mythology & Fiction Explained are all people who do a lot of research themselves on the myths they retell and I would recommend all of them to basically anybody. As far as podcasts go, Mythology & Fiction Explained has a podcast version and Let's Talk About Myths, Baby! is a very informative podcast that talks about sources for the myths and has interviews with experts on the subjects. It's also a podcast that is specifically Greco-Roman based.

As far as doing slightly more in-depth research, I cannot recommend theoi.com enough. I really can't. It has overviews of the most common myths, it has pages about god and hero cults, it cites it's sources and has an online library of translated texts. It's just really good. Go clicking around it for a while. It's a lot of fun if you're into that sort of thing.

As far as primary sources for myths go, there's a few places you could start. The Iliad, perhaps. The most recent English translation is by Caroline Alexander but I personally prefer Stanley Lombardo's translation. The Odyssey is a more accessible read in my opinion if you're not used to reading epic poetry. Emily Wilson's translation is especially accessible, written in iambic pentameter and generally replicating Homer's simple conversational language.

The third traditional entrance into the epic cycle of the surviving literature is the Aeneid. The newest translation of that is by Shadi Bartsch, which is pretty good, but it reads more like prose than poetry. Would still highly recommend it though. Robert Fitzgerald's translation is also good.

If you wanna get fancy you can read the Post-Homerica which attempts to bridge the gap between the Iliad and the Odyssey. It's not often read but it's one of the latest pagan sources we have from people who still practiced ancient Greek religion.

If you want a collection of short stories from ancient times, Ovid's your guy. Metamorphosis is specifically Roman and specifically Ovid's fanfiction, but it's also a valid primary resource and Ovid generally views women as people. What a concept!

Though I think the absolute best overview from ancient times itself is The Library aka Biblioteca by pseudo-apollodorus. Doesn't matter what translation you get. The prose is simple to the point where it's difficult to screw it up. Not artistic at all. It is, quite simply, a guy from ancient times trying to write down the mythological history of the world as he knew it. It has a bunch of summaries of myths in it, and most modern printings also have a table of contents so you can essentially use it as a reference book or a cheat sheet. I love it.

The Homeric Hymns weren't actually written by Homer but that's what they're called anyways. They're a lovely bit of poetry because, well, they were originally hymns. They've got some of the earliest full tellings of the Hades and Persephone story and the birth of Hermes in them. They also provide an insight into how ancient people who were most devoted to these gods viewed them. Go read the Homeric Hymns. They're lovely. You can buy the Michael Crudden translation or you can read a public domain translation online. I don't care. Just read them.

If you're into tedious lists, the next place I'd recommend you go after you read all the fun stuff is Hesiod's Theogony. Hesiod, the red pill douchebag of the ancient world, decided he was gonna write down the genealogy of all the Greek gods. That means lists. I'm not exaggerating. Be prepared for a lot of lists. But this work also has the earliest and one of the most complete versions of the story of Pandora, the creation of humans, and the most popular version of the Greek creation myth. So, it's very useful. If you can take all the lists.

The Argonautica aka the voyage of the argo by Apollonius of Rhodes, is also here. That is also a thing you can read. About the golden fleece and whatnot. And Jason. You know Jason. We all hate Jason.

Greek theatre also provides a good overview of specific myths. The three theben plays, Medea, the Bacche, etc. We've only got thirty-something surviving plays in their entirety so like... look up the list. Find one that looks interesting. Read it. Find a performance of it online, maybe. They're good.

If you want to dive into the mythology as a religion that was practiced, Greek Religion by Walter Burkurt and Ancient Greek Cults: A Guide by Jennifer Larson are pretty good books on the topic and often used as textbooks in college courses.

If you wanna get meta and get a feel for what the general public today thinks about Greek myths and what the average person that's sort of knowledgeable about Greek myths knows, the books you already mentioned are good. That's what people usually read. In addition to those, most people's intro to Greek myths generally involves The Complete World of Greek Mythology by Richard Buxton, D’Aulaires’ Book of Greek Myths by Ingri and Edgar Parin d’Aulaire, or The Percy Jackson series.

I've been flipping through the big stacks of mythology books I keep on my table trying to remember if I've forgotten anything but I don't think I have so, yeah. Hope this helps. There's no correct starting point here. Once you get started there's a nearly endless void of complications and scholarship you can fall down that you'll never reach the bottom of. This post is basically just a guide to the tip of the iceberg.

I am laying a hand so very gently on the shoulders of people reading and sharing the Emily Wilson Iliad translation and begging them to stop looking for shipping scenes in a new translation of an ancient literary text. Wilson is creating more eye-opening and more accurate yet progressive translations of works that is very much true. Your Achilles x Patroclus ship scenes are... not going to be added in. Translating text and writing historical fiction are not the same and in no way is Emily Wilson the same as Madeleine Miller. If you want to read added explicitly queer scenes in mythological texts then go ahead and put down the translation. You are, at best, going to get subtext. If Emily Wilson had uncovered the scenes you are looking for then it would have made news, much like her Odyssey translation did for its discovery of previously omitted women.

My research expertise is, in-part, dedicated to finding historical queer themes and subtexts and I still have to tell you Homer was not explicitly writing *~* soft patrochilles *~* scenes. Is there queer subtext in Homeric writing? Yes! I agree with that! But a new translation is not going to give you modern YA mlm vibes I'm sorry it's not magically going to be Heartstopper and that is actually a good thing regardless of what you are so desperately searching for! Historical texts like those which Wilson translates have much to offer historical and literary research which is amazing! It does not have to be explicitly perfectly queer for you to enjoy it or benefit from it I promise you.

And if you are reading this going 'surely nobody thinks that' unfortunately my tiktok over the last few days has shown me otherwise!!! I would post this on tiktok itself but god help us all if I did.

Ancient Roman Mosaic Reveals Women Wore Bikini

It is believed that the bikini was a 20th century invention, but an ancient mosaic reveals women in Rome wore it while playing sports.

The Villa Romana del Casale, located in Sicily, dates back to the early fourth century AD. Among the ruins, archeologists have discovered one of the largest collections of ancient Roman mosaics.

All of them are surprisingly well preserved. One of the rooms of the villa is called Sala delle Dieci Ragazze, which can be translated as “Room of the Ten Girls” – based on the number of those depicted in the floor mosaic.

Eight of them wear what in the modern world would be called a two-piece bikini, another woman wears a yellow translucent dress, while the image of the only one figure has not survived to this day.

The bottom of this set of clothing looks like a terracotta-colored band made of fabric or leather, similar to men’s loincloths. As for the top, it is reminiscent of a modern strapless breastband. Such chest harnesses also have their own history and have been known since the times of Ancient Greece. It is believed that most often the material for this was linen. This piece of clothing was intended for women leading an active lifestyle and partaking in physical exercise.

Thus, it can be assumed that in ancient times such a bikini was not used for swimming, but rather for sports. This is exactly what all the women depicted in the mosaic are doing. Some of them run, and others throw a discus or hold weights in their hands.

Two women are playing with a ball together. Researchers speculate that this could be some kind of early form of volleyball. In general, ball games are considered one of the most ancient. Their mentions can be found in Homer’s Odyssey. One of the girls, standing in the center, holds a palm branch in one hand and is about to place a victory crown on her head – probably a reward for the best performance. All the women look athletic and have noticeable muscle outlines on their arms and legs.

When it comes to sports, women in ancient Rome were permitted to practice physical forms of exercise, but they faced certain restrictions within a patriarchal society. They were not allowed to take part in competitions with men, and public female nudity was frowned upon. Therefore, a kind of prototype of the modern bikini made it possible to play sports without much inconvenience.

By Maria Rybachuk.