I propose the opposite of conversion therapy for homophobes and transphobes called Pentheus therapy where basically. Yeah it speaks for itself. If it doesn't work we send the maenads in.
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@perhapsitisthegreatergrief
I propose the opposite of conversion therapy for homophobes and transphobes called Pentheus therapy where basically. Yeah it speaks for itself. If it doesn't work we send the maenads in.
restful peaceful chickpea
saw a post on bluesky about reimagining The Iliad as a mecha war and that idea goes unbelievably hard. achilles in his legally distinct gundam cutting through dozens of enemy suits. aggamemnon in his gold-plated mech. paris using a long range sniper rifle to exploit a design flaw in achilles' armor. the gods are all various megacorps who have a stake in the war bc it'll impact their profits.
Helen’s regret, the Illiad book III
ARGOS IN THE NEW ODYSSEY TRAILER?!!
the fact that helen of troy is a mother is soooo crazy to me bc no one ever ever ever looks at her like that. they will give her every other title except mother. what if she’s not the face that launched a thousand ships or menelaus’ wife or paris’ lover or aphrodite’s pawn or the traitor or the downfall or the most beautiful woman in the world what if she is just a girl’s mom sometimes. does anyone remember??? she has a little girl. she used to rock her to sleep
By far the best moment in the Iliad
Homers Iliad book 14
🏛️The Pride of Sparta🏛️
also re: antigone i don't remember whether i've talked about this before but the single text that most shaped my outlook on that play was a single page in claudia rankine's book don't let me be lonely. which i read for a creative writing class in undergrad (in, like, february 2020). the book was published in 2004 and talks a lot about 9/11 and at one point she says:
Hegel argued that death is used as a threat to keep citizens in line. The moment you stop fearing death you are no longer controlled by governments and councils. In a sense you are no longer accountable to life. ... So terrorists embody that state of beyond; they are that freedom embodied. They bring life to that deathly state of lawlessness, breath to breathlessness. They carry those whose lives they touch over into that breathless realm. Antigone, the character and not the play, by Theban definition was a domestic terrorist. (p. 84)
antigone is a total side note here, and i don't know how this hits to people who aren't already invested in the play, but my experience was that, by taking the highly charged notion of terrorism (and the passage as a whole is about osama bin laden) and then applying it to a character i highly identified with, rankine prompted me to reframe how i conceptualized both. "antigone is able to stand up to creon because she's not afraid to die" is now a central part of my reading of the play, and this framing allows me to understand that it's very easy to envy antigone's clarity of purpose and her ability to stand up to power, but this is a result of being driven to a point where you don't have anything to live for, which is not enviable.
don't let me be lonely is available to borrow on archive.org, if you want to check my citation or read it yourself.
something i hadn't considered much before but is highlighted very explicitly in this interesting article "the character of hector in the iliad" by s. farron is that there is a real gulf between how the narrator/other characters talk about hector and hector's actual accomplishments and martial ability in the iliad. the article points out that although many characters refer to hector as this great, terrifying warrior who can only be fended off by achilles, the actual narrative demonstrates repeatedly that hector's real strengths lie in his deep, sympathetic relationships with his family and city, and that his prowess on the battlefield is not actually very impressive compared to other trojan leaders like sarpedon. hector shows remarkable bravery several times and is genuinely very invested in protecting his home, but he never defeats a single achaean king, gets scolded multiple times by his brothers and allies for holding back or being cowardly, and the one time he does kill someone important, patroclus, all of the glory he might've won from the act is negated by how much apollo and euphorbus have to cripple patroclus before hector can finish him off. hector is brilliant and strong when leading the trojans against the achaeans as a whole, and he kills many individual, nameless achaeans, but he is not equal in martial skill to any singular greek leader, despite how much the characters in the iliad hype him up.
farron argues essentially that hector - and everyone else - has extremely high expectations of him as the crown prince of troy, expectations which he never quite lives up to and which really serve to highlight that he defends his city out of necessity, because he values peace, family, and loyalty more than glory or notoriety. the moments where he does bluster about honor or scold other characters for cowardice clash with his actions, incidents where he balks with fear or avoids direct confrontation with the achaean kings or straight up flees from achilles. it makes him read as someone who is desperately trying to be the hero troy needs him to be, because he knows what will happen if he isn't, to the point of overextending himself beyond his own realistic capabilities. it really emphasizes the tragedy of his fate and how futile it all was in the end.
i mostly agree with farron's assessment, and i also want to elaborate that i think another character in the iliad also suffers this disconnect between how others describe him and how he actually, demonstrably behaves, and that is paris. many characters have nasty things to say about paris, most prominently hector himself, and they basically amount to three general charges: he's a coward, his only redeeming quality is his attractiveness, and he's impulsively self-serving. hector and diomedes both directly call him a coward for, respectively, being reluctant to fight (3.54-56) and being an archer (11.505-510), but quite literally the only times we see paris shying away from battle are when 1) he first gets nervous seeing menelaus coming out to answer his challenge, and 2) when he doesn't immediately return after aphrodite spirits him away. in both instances, he eventually gets over himself and returns to the battlefield, where he doesn't make any further attempts to avoid the war. he proves repeatedly that he's not just a pretty face: he's a skilled combatant, an effective leader, and a persuasive speaker, and it's rather telling that every time he makes a grand speech, he always either convinces the other person (13.1020) or they simply don't argue back (6.460). and while it is very true that he is impulsively self-serving re: helen and aphrodite, he also repeatedly avenges his dead friends, protects fellow trojans, and fights on the front lines even in episodes where hector himself is conspicuously absent. hector does acknowledge at one point, "no one of any sense would ever disparage your performance in a battle. you are a brave man" (6.712), and in my opinion it means something that he uses his dying breath to name paris as his avenger, clearly indicating that paris is a formidable opponent even though hector has been very frustrated with what he perceives as paris' glaring lack of patriotic courage.
which i really think is the core of it - it's not that paris lacks martial skill or willpower, it's that paris doesn't seem to feel the same crushing weight of expectation and obligation that hector does. he's not the crown prince, he doesn't embody the city's hopes in the same way and he isn't responsible for carrying the morale of the whole army on his back. he's also not insecure - he knows exactly what his own flaws & virtues are and he doesn't let anyone disparage him unjustly. he accepts criticism when it's warranted but also doesn't hesitate to deny it when it isn't:
"Hector, it is quite reasonable for you to scold me in this way... But do not blame me for the lovely gifts of golden Aphrodite. Glorious gifts that come from gods, that they themselves have given, must not be thrown away—although no human chooses them willingly." (3.75-85)
"Soon he found, towards the left side of the painful battle, Paris... coaxing his comrades to the fight. And Hector stood near and spoke to him with words of shame. 'Pathetic Paris! Womanizer! Cheat! ... Troy is totally destroyed from top to bottom! Now certainly your death is guaranteed!' And godlike Paris answered, 'You are wrong to blame me, Hector. Sometimes in the past perhaps I tended to hold back from war. But I was certainly not born a coward. Our mother gave me birth to be a hero, and since the time you roused our men to fight beside these ships, we have remained right here, engaged in constant conflict with the Greeks.'" (13.1013-1028)
meanwhile, hector is constantly torn between the person he is vs the person troy needs him to be, the domestic father and husband vs the man-slaughtering legend, and in the end he doesn't get to fully satisfy either role. achilles hunts him down and kills him like a dog. in a lot of ways, i think hector and paris both become symbolic figures in the eyes of the achaeans and the trojans (as well as in the eyes of a lot of readers of the iliad), in ways that contradict their actual personalities and behaviors. hector gets cast as a terrifying, powerful, indomitable warrior-prince when he really shines most in relation to his family and the gentle affection he holds for them; paris gets cast as a selfish coward who's responsible for bringing ruin to troy and then trying to dodge responsibility, when he actually spends most of the iliad wounding serious achaean players, lifting trojan spirits with his rhetorical skills, and very gracefully accepting the scorn that everyone heaps on him because he knows he fucked up and does not try to pretend otherwise.
anyway, it's mildly frustrating to me that both hector and paris get flattened into these uninteresting archetypes when what the text actually tells us about them is so much more nuanced and complicated
I illustrated this poem by caitlyn siehl. Such an incredible piece of writing by an incredible writer.
I think I’m going to die in this horse
Which one of you bastards sneezed? We can’t afford another plague amongst us
i'm reading this paper on supplication (particularly in homer) by john gould and although he only touches on this in a footnote it's about achilles and lycaon's meeting in the iliad so of course it's got my ears perking up like a retriever's
gould lays out the xenia process of an outsider going from xenos (stranger) -> xenos (guest) -> philos (friend), using odysseus in alcinous' court as an example. then he touches on how lycaon pleads with achilles to spare him by reminding him of when he was achilles' captive and they ate bread together, and gould points out:
Note that though Achilles does not accept Lykaon's supplication, he nevertheless addresses him as philos (II. xxi 106) after being reminded of the common meal.
ie this bit that always sends chills down my spine:
"Come, friend, you too must die. Why moan about it so? Even Patroclus died; a far, far better man than you."
before killing lycaon who's still unarmed and on his knees.
gould's perspective makes it even creepier! the thought of achilles acknowledging the rules of xenia even in a captor/captive dynamic, respectfully addressing him as a friend, and then very deliberately disregarding those rules because he can't suffer a (half) brother of hector to live. oooh the texture
every gay man thinks he's either in call me by your name or the rush music video by troye sivan
this post if i was in ancient athens: every eromenos thinks he's either in the myth of ganymede or at a banquet with alcibiades
latin students will hear the word “piety” and instantly get real curious
The Iliad perhaps the widest excitement level spectrum of any work of literature. At the one end you have Achilles and Hector fighting to the death. And then at the other end? Catalogue of ships...
On this read I was imagining Emily Wilson translating the whole catalogue and like damn imagine doing all that work knowing full well noone is going to read it
You could stick anything in there. Hide a confession to murder in the middle of your catalogue of ships translation and never get caught. No-one would notice.