#aidos

[mirstrikesbacks-unofficial]

Pleasure

(Abylay and Alikhan)

[little-tiny-raccoon-hands]

New chapter posted, in which we get some insight into why Chione is like that:

Why a Hitman Became the Villainess, or, Rabbit Heart - 26 – Chione visits her mom | Scribble Hub

Also a lazy sketch of Chione’s stupid henchmen, Aidos and Soteria, because I love them

[rainbowprisimatic]

@yupuffin

Idea: yknow how arlan has a small "x" shaped scar over the bridge of his nose? And that his right eye is hidden under his hair?

What if the scar instead looked like a lightning scar, and it was from him messing up his electric powers when he first training with them :0 (yes this is a part of his design im considering altering for my stolen version of him, lol, i might just call him Aidos from now on for clarity and to distinguish him/make it clear hes not the orginal arlan).

I just think it would be pretty cool... usually electric based scars are like on backs or chests, but on the face? Thats not smth ive seen done before, and, Oh boy... that would be far more angsty. his right eye would probs be damaged/blinded too, maybe partly maybe fully... which could be why he uses his hair to cover it up 👀

[cloverthegrand]

When I learnt that Prometheus in mythology had a daughter, SHAME INCARNATE? Whose job is to restrain mortals from right and wrong? Who can also be called Honour Incarnate? Who’s a companion of Nemesis? Of course I made an OC.

She has the power to let others know what people think of them. However that feeling is not just shame, but also reverence.

At the start of her story she is Aeschyne, Shame Incarnate. Embarrassed by her father’s rebellion, she puts the fear of the Gods into his mortals. At the end of her story she becomes Aidos, Honour Incarnate. She accepts the imperfect world her father made and realises the Gods are also full of hubris. Instead of punishing just mortals, she drives all beings into becoming their best selves and remember who they want to be.

[eleosembrace]

Epithets of Aidos

ৎ˚ Φυλακτῆριος, Phylaktḗrios — the guardian, the protectress

ৎ˚ Ἐγκόλπιος, Enkólpios — the inner voice

ৎ˚ Βροτῶν Φρήν, Brotôn Phrḗn — the conscience of humans

ৎ˚ Ὁσία, Hosía — the pious, the devout

ৎ˚ Ἀλεξίκακος, Alexíkakos — averter of evil

ৎ˚ Κοσμία, Kosmía — orderly, well-ordered

[deathlessathanasia]

„Nemesis' earliest appearances are in Hesiod. The Theogony(211-25) makes her one of the many offspring of Night, along with various other personifications: Night bore hateful Destiny and black Doom and Death, and she bore Sleep, and the tribe of Dreams. And again gloomy Night bore Blame and painful Woe, though she slept with none of the gods, and the Hesperides, who guard the beautiful golden apples and the trees which bear the fruit beyond glorious Okeanos. Also she bore the Destinies and the relentlessly avenging Fates, Klotho, Lachesis and Atropos, who give mortals at their birth both good and bad to have, and who pursue the transgressions of both men and gods, nor do the goddesses cease from their terrible anger until they punish whoever has sinned with an evil visitation. Also deadly Night bore Nemesis, a bane for mortal men, and after her Deceit and Affection and destructive Old Age and strong-spirited Strife. Like most of Hesiod's genealogies, this can be read in fairly allegorical terms. Most of Night's children are dark characters, for one reason or another: … Though ideas of fate are not necessarily negative, the various facets associated with Night here all emphasize the darker side: Destiny (Moros), not personified elsewhere, and Doom (Ker) are normally used of a man's allotted death; the Fates (Moirai) are characterized here as relentless, inescapable forces against which we struggle in vain. Nemesis is explicitly a 'bane' (pima) for mortals, not an obviously suitable description for 'justice', so here the word may well be used in its more literal sense of 'allotment', especially given the company of the Fates. In their pursuit of 'transgressions' (paraibasiai, literally 'oversteppings'), the Fates seem to be carrying out a task elsewhere specifically assigned to Nemesis, as we shall see.

A more positive Nemesis can be seen in the "Works and Days(197-201), where she is linked with Shame (Aidos), both leaving the earth at the end of the Age of Iron: And then will Aidos and Nemesis go to Olympos from the wide-pathed earth, their fair forms wrapped in white robes, abandoning mankind for the company of the immortals; bitter sorrows will be left for mortal men, and there will be no defence against evil. Although the mythological element is more apparent here, with the two characters explicitly anthropomorphized and on their way to stay with the Olympian gods, the allegorical message is hardly far to seek: in our degraded times shame and righteous indignation are no more to be found. Instead, 'men will praise the doer of evil and his hybris; justice will be in physical strength …' (191-2). Nemesis' association with the idea of aidos - shame, modesty, respect, the observing of proper relationships and limits - is quite consonant with archaic usage of the abstract noun. In the Odyssey, feeling nemesis is Telemachos' reaction to Athene/Mentes' having been left unattended at the door for some time, and to the Suitors' arrogant behaviour (1. 119-20 and 226-9). The noun is used particularly in the phrase ou nemesisplus the infinitive, 'it is no cause for indignation that …', as when Agamemnon is arguing in favour of retreat from Troy: 'there is nothing to be ashamed of (ou gar tis nemesis) in running away from disaster' (Iliad 14.80). The scholiast on the Hesiod passage remarks that 'Homer knew the concept (pragma), but not the goddess'.

Aidos appears personified once or twice elsewhere in poetry, but compared to Nemesis she has very little personality, and much of the evidence for her cult is either from highly rhetorical contexts or dates only from the Roman imperial period. The name AIDOS inscribed on an archaic red-figure amphora depicting the rape of Leto seems most plausibly to be explained as the scene's tide, or just possibly as an epithet of Artemis, rather than indicating a representation of the personification. At Athens, an orator claims that 'all men have altars of Justice (Dike) and Lawfulness (Eunomia) and Aidos, some, the finest and holiest, in each man's soul, others built for the common worship of all' (Ps-Demosthenes, Against Aristogeiton 1.35). There is a seat for a priestess of Aidos in the theatre of Dionysos (JG 112 5147), and Pausanias mentions an altar, which two later sources localize on the Akropolis, 'near the temple of Pallas Athene', along with an altar of Simplicity (Apheleia). Xenophon's Sokrates (Symposium 8.35) alleges that Aidos is recognized as a goddess by the Spartans, and a case has beenmade for associating a Lakonian statue mentioned by Pausanias with a cult at Sparta.”

- Worshipping Virtues: Personification and the divine in Ancient Greece by Emma Stafford

[lazari-1313]

Aidos :333

[valkyries-things]

AIDOS // GREEK GODDESS OF SHAME, MODESTY, RESPECT & HUMILITY

“She was the Greek goddess of shame, modesty, respect, and humility. Aidos, as a quality, was that feeling of reverence or shame which restrains men from wrong. She was the last goddess to leave the earth after the Golden Age. She was a close companion of the goddess of vengeance Nemesis. Mythologically, she is often considered to be more of a personification than a physical deity.”

(Pompeii fresco depicts Aidos as woman on the right)