I had fun making this (mad props to the lasso and fill tool) 💖
Text background credits go to my boi Shakespeare.
So uh
Happy Ides of March y'all! 🫶🏻✨
macklin celebrini has autism

Origami Around
🪼
let's talk about Bridgerton tea, my ask is open
will byers stan first human second
PUT YOUR BEARD IN MY MOUTH
One Nice Bug Per Day

roma★
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noise dept.
TVSTRANGERTHINGS

tannertan36
Misplaced Lens Cap

Kiana Khansmith

PR's Tumblrdome
Not today Justin
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wallacepolsom
todays bird
seen from Ireland
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@damonikos
I had fun making this (mad props to the lasso and fill tool) 💖
Text background credits go to my boi Shakespeare.
So uh
Happy Ides of March y'all! 🫶🏻✨
I'll revive this goofy Tumblr page, promise.
IO SATURNALIA EVERYONE! 💖
Anyway, here's Marcus with a wreath.
IO SATURNALIA EVERYONE! 💖
Anyway, here's Marcus with a wreath.
Thoughts on Odysseus and Penelope that might kill me from the inside if I don’t let them out
The reason why I insist on the idea that Odysseus doubted Penelope when he arrived in Ithaca is (not only, but also) because doubting Penelope means acknowledging her autonomy and her capacity for choice.
Sorry, but coming back after twenty years as if nothing had happened, expecting that Penelope had nothing better to do than wait for him, would be ridiculous: the sacrifices she made for him would be diminished, her proof of love ignored. Penelope is beautiful, desirable, and desiring: Odysseus does not take it for granted that she has remained frozen in place.
In fact, he asks his mother whether Penelope has remarried or intends to do so; he tells Telemachus that he will speak to her in order to put her to the test… He is not 100% certain, in the first case, that she remained faithful, nor, in the second case, of her intentions.
Obviously, we must also take into account the social and cultural context in which Odysseus operates: reading the Odyssey, we realize that many characters suggest the idea that women are naturally inclined to betray their husbands — or, if not to betray, at least to forget them easily when they’re not around to keep an eye on them. This notion is made quite explicit — and not without irritation — by Agamemnon, but also by Telemachus, and most authoritatively by Athena, who tells us that once women remarry, they forget their former home and husband, forget their children, and focus only on enriching the new household they’ve joined.
That said, I think the role Odysseus takes on when faced with these famous doubts is far from irrelevant: Odysseus effectively becomes another suitor of Penelope. He knows that in order to have her back he must fight and win; indeed, he accepts and wins the contest of the bow, and does not consider himself above the effort.
I must also add something about my all-time favorite scene: the moment when Penelope uses sweet words and lies to obtain gifts from the suitors. Odysseus understands that she is deceiving them and takes pleasure in it—we know this. But she is not only deceiving them; she is also seducing them. Seduction is an integral part of her deception. Not by chance has Penelope sometimes been compared to Circe, who enchants men and then turns them into animals. Penelope here is no different.
I truly believe that this scene should give us a chance to reflect on Odysseus’ attitude toward Penelope, which I would not define as possessive so much as competitive. Let her receive whatever gifts she wants from her disposable young men, let her enjoy seducing them and playing with them—he accepts the competition and accepts the challenge. I mean, let's not forget how much Odysseus enjoys winning.
There is no real moment in which Odysseus claims her; instead he wins her back. We see this in the way he speaks to her while pretending to be a beggar, a way of speaking that gives her such pleasure that she could listen to him all night. We see it in the fact that he does not immediately step forward at the moment of recognition (as he could, as her legitimate husband), but waits for her to speak first. And in the fact that he tells Telemachus not to rush her and then sends him out of the way—very elegantly—so that the recognition can be private.
He assumes the role of the suitor, not that of the husband-owner. And in order to accept this role, doubt about Penelope’s intentions and deepest desires is a necessary condition.
Ariadne fanart, I love her with all my soul
Dancing 🥰💕
Another Icarus.
Io, Saturnalia!
Saturnalia is an ancient Roman religious festival honoring Saturn, who was pardoned after his expulsion from Olympus by Jupiter and subsequently regarded as a benevolent god of agricultural abundance.
The first documented Saturnalia was held in 497 BCE for the dedication of the Temple of Saturn in Rome. An annual festival commemorating the dies natalis (anniversary) of this event was held thereafter on December 17. The celebration proved so popular that it was extended to three days, then to an entire week - from December 17 to 23. There was a 24 hour break to take care of home and business - and then everyone went back to celebrating with the dies natalis (anniversary) of the dedication of the temple of Sol Invictus on December 25!
The religious observation of Saturnalia occurred on the first day of the festival. The monumental cult statue of Saturn was acrolithic, a composite of carved ivory over a wooden scaffold, shining with a coating of olive oil to help prevent the ivory from cracking, and draped with “garments” of gilded wood and/or cloth - air currents stirring the fabric would have created the illusion of the statue moving. The legs of the statue, which were bound with woolen bands for most of the year - again, it is speculated, to help prevent the ivory from cracking, though perhaps there was also a religious meaning - were unbound for the duration of the Saturnalia. After a religious procession to the Temple of Saturn and the proper rituals were performed, including a lectisternium, a ceremony in which a smaller statue of the god was placed upon a dining couch and offered food and drink as part of a banquet attended by Roman elites. The Saturnalia festival for the general public commenced following the completion of these solemnities.
The Saturnalia recalled the mythical Age of Saturn, when crops grew without human toil and humanity lived in harmony with nature and each other. Elements of the festival included days off from work and school, gatherings of family and friends, wearing brightly-colored garments, preparing and indulging in copious amounts of food and drink, playing games, attending theatrical and musical performances, giving gifts, decorating homes and businesses with garlands and wreaths of evergreens gleaming with sparkly ornaments, light from candles, lamps, torches, and bonfires - all of which probably sound at least a little familiar!
The reversal of normal societal roles was emblematic of Saturnalia: the emperor bestowed largess upon soldiers and the general populace, employers gave bonuses to workers, families with the means to do so gave food and clothing the poor, those with employed/enslaved workers played at being workers themselves by serving meals to the staff, and children were allowed to participate in “adult” activities such as attending theatrical performances and gambling with dice.
You’ll find some ideas for celebrating Saturnalia here and here.
If you’re able to do so, I hope you will continue the Saturnalia tradition of gifts and role-reversals by supporting your local food bank, shelter, or the charity of your choice by volunteering or making a donation.
⊱⋅⋆✵⋆⋅*✧*⋆⋅༻*⋆⋅⋅⋅🏛⋅⋅⋅⋆*༺⋅⋆*✧*⋅⋆✵⋆⋅⊰
Featured Image Description: Saturn, fresco by Pietro Venale, Villa Giulia, Rome, Italy, circa 1552.
Image description: This is a Renaissance image done in imitation of the First Style of Pompeian wall painting. Saturn is depicted as an old man with white hair and a long white beard. He wears only a grey cloak, which swirls around his body, and holds a scythe aloft over his right shoulder with both hands so that the blade over his head points to his left.
Image source: https://it.wikipedia.org/wiki/File:Villa_giulia,_portici_con_affreschi_di_pietro_venale_e_altri,_grottesche_02.jpg
Image license: Creative Commons Attribution-ShareAlike 4.0 International License
Remix: I cropped the image and applied filters to sharpen and remove noise.
Prometheus' Liberation, 1864 - oil on canvas
— Carl Bloch (Denmark, 1834–1890)
lookit this hunk
hee looks good in his frame, too
I hate drawing them
A sketch of my favourite guy Hermes
-> Paris, Hector, Cassandra
My favorite doomed by the narrative siblings
every time i get a haircut i simply must update my icon
we deserve a soft epilogue, my love
Elias Marquez, classical antiquity enjoyer (warning: might chew on pottery shards)