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Happy Holidays!
Last of the bricks ordered to finish the display stands arrived today. Xena and both versions of Gabrielle are ready for the AUSXIP charity auction when it starts September 1st.
There are some fantastic items that have been donated. You can check them out before they go up for sale by downloading the auction catalogue from the AUSXIP site www.ausxip.com
Thanks again @ausxipmaryd for accepting my little Xena Lego brick characters in to the @ausxip charity auction.
Thought it would be nice to include a stand with each model for the winners so they can easily be displayed. Came up with this simple idea. Added a little modified tile to each base plate so the weapons can be displayed alongside each figure when they are not being held.
Waiting for a couple more bricks to arrive for the Gabrielle bases. Once they arrive they'll be set for the auction next month. Fingers crossed they all find new home.
AUSXIP Charity Auction 2021
I've donated three of my custom Lego Xena builds to this years charity auction held by the AUSXIP.
I'm totally blown away to be apart of this. AUSXIP was one of the first sites I stumbled across when I first started watching Xena all those years ago and has been my go to site for all things Xena. The site's founder, Mary D is a legend in the fan community and it's fair to say that her site has been a huge part in keeping the Xenaverse alive all these years.
I'm so pleased to be able to contribute to this years auction and it cannot be said enough, thank you Mary D for all your hard work and support of the Xena fan community.
Here's a little bit more info on the builds.
There's about 200 individual Lego branded bricks in each model both new and recycled. Xena stands around 7 inches high while both versions of Gabrielle stand at around 6 and a half inches.
I've updated my original design to include some more recognisable details such as Xena's Chakram and knee guards.
Season 6 Gabrielle has had some changes made to her outfit and like Xena both Gabrielle's have been given a base to stand on.
Each one can move their arms and head. They can also hold their iconic weapons.
I really hope you guys like these and that they find a new home.
As if I couldn't get anymore excited for the new series of 'My Life Is Murder', they casually confirm Renee will guest star in one of the episode directed by Michael Hurst. He also has a role in the ep.
When I saw the news I was with a friend who had no idea why I was so excited over the announcement. Had fun trying to explain who they were and why it means so much to see them working together again.
Loving all the memes and photos being shared, especially this one on Instagram by @Xenascrolls. Brings back all the feels.
Screen-used Autolycus ‘Grandma’ Disguise
I have a lot of things in my collections, but nothing quite like this. I want to talk a little bit about Autolycus’ ‘grandma’ disguise from the Season 3 episode Vanishing Act. This is the outfit that Autolycus uses to disguise himself after it is discovered that the Pax statue has been stolen. Of course, Xena sees right through him.
I have never been one to collect ‘clothing’. I have a myriad of set used weapons and armour- hell yes I love it! Bring them on! But not clothing. I am not sure why- maybe because they are hard to display? Or maybe it just feels weird to have someone’s clothes. I am not sure.
All of that went out the window when I saw this for sale not that long ago. What drew me to this piece is that it is a bridge between my two greatest collecting loves – set used props and Xena trading cards. And this item of clothing has such trading card history!
If you read this blog, you will know that the very first thing I ever collected was Xena trading cards and it is still something that I collect 15+ years later. It truly is my first collecting love and I will continue to pick up cards I don’t have whenever I can. Even back when they were in production they were very hard to find in Australia. The odd tobacconist would have some but that was about it. Maybe you could have got them from dealers? I am not sure, but if you could I didn’t know at the time. My dream is that one day I hope to have master sets (complete with all variants) for each set.
How does this relate back to this Autolycus grandma disguise costume? WELL.
This costume was given by the Xena set to the Rittenhouse trading card company for use during the production of subsequent trading card sets. They eventually used it when they manufactured their 2003 trading card set ‘The Quotable Xena: Warrior Princess’. This Quotable set featured a 6 card subset of autographed costume cards, one of which, was ‘Bruce Campbell as Autolycus in Vanishing Act’.
See where I am going with this!!
The shirt is the only part of the costume that was used to create the trading cards, and in 2021, an American trading card dealer obtained the rest of the costume. They decided to sell it on, and that’s where I was lucky enough to get my hands on it. 😈 Honestly, what are the odds of this thing sitting in a store-room and then after nearly 20 years finally resurfacing? 💜💜
The remainder of the costume has three parts- there is the skirt (with both an under-layer and an outer-layer), a sash belt and a shawl. It is heavier than you would expect! The image of the complete outfit is from the Rittenhouse company used for advertising the trading card set.
The skirt has a concealed zip and clasp at the back. It is heavier than you would expect! The skirt is made from a woven cotton and the sash is wool. The shawl is a printed fabric. To be honest, it is really well made for something that only gets a few minutes of screen time.
So that is it for me today guys. Take care! x
Xena Fan Art
While I continue to work on the next series of blog posts I thought I'd share with you some of my old Xena Fan Art.
I kinda stumbled into the whole fan art thing not long after discovering the show. I was looking through the old Xena magazines one day and thought I'd try to draw one of the photos.
The early sketches are really ruff, I don't think I've ever shared them, but over time I noticed things improving. Though they are still far from perfect, I've grown to like them and confident to share some.
This is one of the earliest sketches I still have, it's based on a still of Gabrielle from 'Succession'. As you can probably tell from these blog posts I'm my own worst critic and a bit of a perfectionist so a lot of the time I would spend weeks agonising over details. I'm not so hard on myself now a days but still there are times when I just have to take a break for a while working on a project so I can return to it with a new perspective.
A drawing of Argo based on a still from the episode 'Been There, Done That'
I also enjoying painting with watercolours though I'd never really tried to paint a portrait before. I did this Gabrielle Sketch based on an image from 'Who's Gurkhan' and thought it might work as a watercolour. As I didn't want to ruin the sketch, I traced it and created a new pencil copy on some watercolour paper to paint instead.
This one below is based on a photo of Lucy taken during her time on Battlestar Galactica.
I stopped drawing for a long time, it wasn't until Lockdown last year that I thought about drawing again. This was one of the autographs I picked up at the London Convention. It was a fun image to work on with all the details. Couldn't get the pattern quite right on Gabrielle's top but think it still works.
Lost posts and found notes
Spent some time working on a new post based on the current work I'm doing on Ancient maps and locations in the Xenaverse. Rather annoyingly though I manage to refresh my web browser before I had chance to finish and lost what I was working on.
Here's a sneaky peek at one of the maps and my basic attempt at annotating it lol.
Anyway I did get some good luck today when my Mum discovered a box of my stuff that has the old university notes I've been looking for. So pleased and really looking forward to reading through them again as part of the research to this blog. In particular I'm pleased to see some of the old journals I printed off for Greek Drama are there as they will come in handy for my write up on 'The Furies'.
Also as an added bonus there was a book of world mythology tucked away at the bottom which will hopefully help with the Norse, India and Chin arcs.
Again thanks everyone for reading and more so for your patience in waiting for these posts. Hopefully will be able to share some new posts soon.
Xena 20 Years Conference
Thank you to the guys who organised this and those who have taken part! It's bringing back so many memories of my time studying Classics and, of course, lots of loving nostalgia for the show.
Getting lost in all the fascinating discussions and arguments being made. Found it impossible not to grab my book and start taking a few notes. Looking forward to referencing a few in some of my future posts.
There was a couple of comments made on reading into references. How do you know if it is a legitimate parallels intended by the show or just your own interpretation? It is something that I've been trying to keep in mind as I create this blog. Even if it is unintentional I think it can still be a valid point to explore.
I read on the conference site that some of the papers will be shared after the event which is fantastic but I'm really hoping these presentations will become available as well. Also fingers crossed there will be many more of these conferences in the future.
And…that’s the show.
How to perfectly explain Xena: Warrior Princess in 2 gifs
Update: Mapping the Xenaverse
The list of maps continues to grow.
The Ancient Greece maps are complete and I've mapped a few of the well known places like Amphipolis and Potidaea. Marked a few of the places historical events the show references happen.
Managed to get a couple of detailed maps for the Roman Empire and the Far East. Though I'm not able to to enlarge them, they still provide a great reference point for charting Xena's and Gabrielle's wider travels.
Mapping the Xenaverse
I'm sure there are other fans out there that were amazed to discover Amphipolis and Potidaea were real places.
After making this discovery many years ago I did try to create a map of the places Xena and Gabrielle travelled to though it was difficult to do.
The main problem is that it turns out tjat detailed maps of the Ancient World are difficult to get a hold of and are expensive.
Anyway after starting to work on ideas for the blog I thought I would try and give it ago as maps would be useful and interesting detail to add to posts.
After a fair bit of printing and a lot of tape I've managed to make my own poster size maps. So much easier to read and you get a much better idea of the scale of distance between places.
The plan now is to highlight the places mentioned in the show. I've started to colour code them depending on whether they are places Xena and Gabrielle visit, are mentioned or are a place where a real historical/mythological event happened that is referenced in the show.
Once that's done the idea is create my own maps of just the locations relevant to the show. Already sounding like it might be an epic project to achieve but it will hopefully it'll work out.
Planning the next Xena blog post.
Picked up this new text book on Phlegon of Tralles, an ancient author I've not heard of before. His 'Book of Marvels' is a series of curious stories of the miraculous like Ghost sightings, Giant's bones and a captured centaur. Think it will provide some interesting references for the blog.
This is a bit of a different post to what I normally do, but this is something I have been thinking about a lot today so I have decided to write it down while I’m supposed to be doing actual ‘work’ at work…
A bit of a stream-of-consciousness as such, but for the last few weeks, all my random off the shelf Xena DVD picks have been from season 1, and it has led me to ask this question:
Why does season 1 hold such a special place to me? And why, even now am I so drawn to it?
It’s different to the other seasons- the show is still just finding its feet, the characters are still establishing themselves, and we really are just beginning our journey. We aren’t into the great comedies or the heart-wrenchers just yet. The subtext is still very much on the back foot. So why? Why does season 1 hold such a firm spot in my heart?
I think I may have worked it out.
All the episodes in season 1 hold such deep hearted lessons that you just didn’t see on television at the time, and often you still don’t today. Lessons about self-belief, discovering who you are, and just the morality of life. As a little girl growing up, it was just what I needed to hear and be taught. And re-watching them now as an adult, it helps solidify who I am and who I want to be. With all the craziness of life, season 1 grounds me.
It all begins with Sins of the Past, and as someone who has had to stop, look around and then begin life again from the ground up, this speaks to me more now as an adult than it ever did. If I hadn’t had it ingrained into me as a child that it’s okay to accept the past and begin again, I probably would not be who I am today. In fact, I probably wouldn’t be here today. Is it lame to say that Xena saved my life? She gave me the strength to walk away and start again.
Even episodes that I would definitely not classify as a favourite, like Chariots of War, still have a deep rooted message. It shows that we all have a path, and although that path often isn’t easy, its ours and we need to walk it.
Who can forget the beautiful Dreamworker, when we learn that the past will always be a part of us and will impact on our decisions, but it doesn’t have to define us. We are the makers of who we are and we can use the past as a strength to propel us forward.
The Reckoning. Of course this is the monumental debut of the incredible Kevin Smith, but the episode really is about accountability, taking ownership of yourself and your actions, and accepting the consequences of that. Xena really is the embodiment of that concept and she has the strength to face the consequences of her choices regardless of what they will be.
“If I run now, I will be running forever.”
Episodes like Death in Chains, we always think of as Gabrielle’s boyfriend-of-the-week and the one where Lucy got covered in rats, but at the heart of it, its about the acceptance of losing the ones we love and understanding our own mortality.
“You shouldn’t fear it. I did for the longest time. But now my suffering has grown so real and deep. Now I know, death can be a friend- a resting place.”
“Don’t you see? It’s not how long you live that matters. Its how well you live.”
In The Black Wolf, we actually learn through Flora and the story of the oak tree to have self faith. Whether you have suffered from a lack of confidence in your life or not, having belief in yourself can often be one of the hardest things to do. The story itself is heart breaking- a little girl reaching up in hope, but each time Xena pulls her hand away.
“I fell for it every time.”
“You told me to have faith.. and I always thought you meant to have faith in you. But it was me you were talking about, wasn’t it?”
It is a tough lesson.
Beware Greeks Bearing Gifts. It’s a subtle one, but you tell me what young impressionable female (or ANYONE for that matter) doesn’t need to hear at the end of the episode from Helen, a woman who has been objectified and treated as the beautiful subservient object of every man who has ever claimed to love her:
Helen- “you showed me that the only person that can make me happy- is me.” Xena- “you’re welcome. What’s next for you?” Helen- “I don’t know. But for the first time- its my decision.”
This exchange should be shouted from the roof tops to anyone who needs to hear it. So if you haven’t been told today- you can do anything and be anything.
I really could go on about this and I might look at more of these episodes at a later date; but this really is just ad-hock musings while I’m procrastinating at work. So I am going to jump forward to The Greater Good.
Oh boy, I think we all have to agree that The Greater Good is something else that we definitely did not deserve on our televisions. It’s just beautiful storytelling with such a depth of emotions that are both on display through the characters and a depth of emotion that it invokes in me. We have gone on this journey with Xena and learnt so many lessons alongside Gabrielle and this really is the first time she has had to demonstrate what she has learnt without the support of Xena. It’s hard. Its raw. And its beautiful. The concept of The Greater Good is the beginning of a theme that becomes a foundational stone that runs through the course of the entire show. As the concept grows, we discover there are so many levels to it- humility, our place in the world, the value of life, and the nature of humanity itself. But this, right here, The Greater Good is the beginning of it all. Along with Gabrielle, we have to endure that penultimate lesson and the seriousness and sacrifice of what may eventually come to be.
You tell me any Xenite that hasn’t found solace in the phrase ‘its for the greater good’ when faced with struggles in their personal life. Whether that be said in seriousness or in jest- we have all said it and it has brought comfort. We have Xena to thank for ingraining that concept into us.
This ‘campy and lame’ show has created the bedrock for who I am. For who I want to be. And because of it, I am proud of who I am. I have made mistakes and done stupid things (and I am sure I will make many more in the future!), but that’s okay.
The lessons in season one aren’t easy. They are hard and full of hurt. They are not something you understand after watching the show once. Its those of us that have watched the episodes countless times. I hope you understand me. You just ‘get it’ right?
So this is why. This is why when I am a little bit deflated, misdirected or demoralised in life I am drawn to season 1. This is where I can refill my cup, recentre myself, then take on the world.
So yes, the episodes are a bit rough. Bit cheesy. But they are just heart.
heart heart heart.
I also taught myself how to make gifs today, so you can see I had a really productive work day.
This is so true! Really well written.
"Gabrielle, Tell him. Do the Bard thing" Chariots of War
From the very first episode Gabrielle is introduced as a storyteller and straight away it is hard not to be impressed with the level of authenticity the writers give to Gabrielle’s skills as a Bard. Many of these stories she tells are based on fragments of authentic myths.
'Chariots of War', the second episode of the series, opens on Gabrielle telling Xena a story as they make their way to the bar in a village tavern. Though we only catch the ending of her story, there is still interesting details to unpick.
G: “And so, Zeus, in his appreciation, turned the two lovers into oak trees. And then do you know what happened?”
X: “Somebody built a boat out of them?”
G: “No-- their branches intertwined, and they spent the rest of their days in each other’s embrace.”
There are a lot of stories in Greek myth involving 'metamorphoses', the Greek word for ‘transformations’, with both gods and mortals turning into other things like plants or animals. The only story that comes close to the one Gabrielle tells is the story of Baucis and Philemon.
The complete version of the myth is only found in the work ‘Metamorphoses'. It is a collection of myths woven together into a narrative through their common theme of transformation. It was written by the Roman poet Ovid who lived between 43 BC and 17 AD, a period of Roman history which saw the end of the Roman Republic and the reign of the first Emperor, Augustus.
The gods Zeus and Hermes (known here in their Roman forms, Jupiter and Mercury) disguise themselves as mortals and travel across Greece. When they seek hospitality from the mortals they encounter, they find themselves turned away from every household until the come upon the simple home of Philemon and Baucis.
‘Looking for shelter and rest, they called at a thousand
homesteads;
a thousand doors were bolted against them. One
house, however,
did make them welcome, a humble abode with a roof
of straw
and marsh reed, one that new its duty to the gods and men.
Here good Philemon an Baucis had happily passed
their youth
and here they had reached old age, enduring their
poverty lightly
by owning it freely and being content with the little
they had.’
Ovid, Metamorphoses, 8.628-635
Here the couple greet the strangers and offer up what little they have, providing them with the best of the meagre food and wine unknowing their true divine identities. Ovid goes in to quite a bit of detail describing the hospitality the couple offer especially the dishes that make up their feast during. While they entertain their guests the cups magically refill with wine.
‘Meanwhile, whenever the mixing-bowl got empty,
it seemed
To refill of its own accord, with the wine welling up by
itself.
Stunned and scared by this wonder, Philemon,
trembling, and Baucis
lifted their upturn hands to heaven and fervently
prayed
For forgiveness after serving so poorly prepared a repast.’
Ovid, Metamorphoses, 8.679-682
Fearing they have offended their divine guest they seek to appease them by sacrificing their only goose. This leads to a comical scene with the elderly couple chasing the goose and failing to catch it. It appears to run towards to gods for safety which seems to work as the gods command them to spare the bird as they are grateful for what they have already provided.
They then proclaim that the couple will be spared from the punishment they will inflict of their impious neighbours who refused to honour the Greek custom of hospitality known as xenia (ξενία), a word derived from the Greek word for stranger xenos(ξένος). Sometimes referred to as 'ritualized friendship' the custom was based on generosity, courtesy and gift-giving that strengthen ties between people. In earlier times when it was thought that the gods walked among mortals it was even more important to respect these customs to avoid incurring the wrath of a visiting god. It would became seen as a moral obligation for both Guest and Host to show respect to each other.
Returning to Ovid's story, the couple leave their home with the gods and head to the safety mountains. There they witness the flood the gods send down to wipe out their impious neighbours. Nothing is spared except the couple’s home which undergoes its own transformation as it becomes a temple to the gods.
The gods offer to grant the couple anything they desire as reward. After deliberating with each other Philemon and Baucis ask to be guardians of the new temple and also, that when the time comes for them to die, that they die together so they don’t have to suffer the loss of their partner. After many years happy years together they are transformed into Trees. Philemon an Oak and Baucis a linden.
"We
ask
to be priests and to guard your temple; and since we
have passed our years
together in peace, let the same hour carry us off, so I
need not
look on my dear wife’s grave, nor she have to bury my
body."
Their wish was granted; as long as life was allowed
them, they served
as the temple’s guardians. When time had taken its
final toll,
and while they were casually standing in front of the
steps of the building,
telling the sanctuary’s history, both Philemon and
Baucis
witnessed their partner sprouting leaves on their worn
old limbs
As the tops of the trees spread over their lip sand concealed
them forever.
Still to this day the peasants of Phrygia point to the oak
and the linden nearby which once where the forms of
Philemon and Baucis.’ Ovid, Metamorphoses, 8.712-720
The devotion the couple have for each other is really endearing. You can really see why this story would appeal to a young Gabrielle who left her home and arranged marriage to find the true place she feels she belongs.
It is also an interesting choice of story to share with Xena, someone she’s just met who is aloof and independent. She’s eager to befriend the warrior but is finding her emotionally distant. This emotional distance is reflected in the physical distance between them. In these early episodes they have clearly defined personal spaces, such as sperate bedrolls, and they spend a lot of time apart as Gabrielle is left behind in a 'safe' location. You could read into this that just as Xena tries to keep distance between her and Gabrielle physically to protect her, she is trying to keep her emotionally distant for safety reasons as well. In some ways Gabrielle may understand this which is why she choses to tell this particular story to Xena. The old couple might seem weak and vulnerable but they are given strength by the devotion and support they have for each other. Gabrielle is trying to show her new friend that caring isn't a weakness but a source of strength by using this story as an example.
X: “What’s the point?”
G: “Come on, Xena. I believe everyone will find their tree in the forest someday-- even you.”
X: “I find the strongest trees in the forest stand alone.”
G: “You don’t have to be strong all the time, Xena; sometimes it’s good for the soul to be soft.”
This moment beautifully foreshadows the relationship that grows between Xena and Gabrielle throughout the series as both become entwined emotionally, spiritually and physically in a multiple of ways. There are moments that the imagery of the myth is invoked in such a way that Xena and Gabrielle symbolically become the lovers. Intentional or not by the writers it is a fantastic coincidence.
One episode that subtly does this is ‘The Abyss’ during one of its poignant cave scenes. After an encounter with cannibals Xena and an injured Gabrielle become tapped in a cave that is rapidly flooding. As Xena tries to get them out, Gabrielle tells Xena her final wish, that she wants to be buried with Xena.
X [Whispers]: "Gabrielle-- Gabrielle-- here-- here. The time's
come. We're getting you out of here, all right?"
G: "Oh."
X: "All right."
G: "Xena, I have a-- a last wish."
X: "I don't want to hear of it."
G: "No-- I'm serious. You don't want to know?"
X: "What is it, then?"
G: "I don't-- want to be buried-- with the Amazons."
X: "All right. Well, in fifty years, when the time comes."
G: "Xena-- I wanna lie with you-- with your family? In
Amphipolis."
X: "What about your family?"
G: "I love them-- but I'm a part of you. I want it to be like
that forever. I love you."
It is the climax of a series of intimate moments that are grounded in their love and devotion to each other. Gabrielle’s words cement their soulmate relationship. They are meant to be, and will be, together forever like the lovers of her story.
The context of this moment adds another layer to this allusion. As Gabrielle is affirming to Xena that she is a part of her, the warrior princess is preparing to save her injured partner by tying her to herself using vines. This nicely invokes images of Gabrielle’s story of the two lovers who becoming trees and entwining together. Also it connects with Ovid's tale of Philemon and Baucis as like the mythic couple, Xena cannot bear to witness the death of her partner. As Philemon and Baucis were spared that fate by being transformed into trees, Xena is using a plant to physically entwine her and Gabrielle to save her from death.
This climb up the ravine walls to escape the rising water could be reminiscent of Philemon's and Baucis' arduous climb up the mountain to escape the flood or just another coincidence. What perhaps isn't is that it is love and devotion that binds each couple together for eternity. Just like the lovers in the story Gabrielle tells in season one, and the myth it is based upon, Xena and Gabrielle will be together for eternity in each other's embrace.
Throughout the series there are a number of different ways Xena and Gabrielle become entwined together. As the emotional distance between them shrinks, the physical space seen in earlier episodes disappears and they begin to embrace each other. Not only is there a myriad of touches and hugs to connect them but while sitting, walking and even fighting they become inseparable.
They become so close that they pick up traits from each other and almost merge into one. This is such a vast topic to discuss it really needs its own post to explore in detail but the importance for this discussion is the idea that they merge into one entity. The idea that they become one is the connection with the myths and invokes the imagery of metamorphosis.
This metamorphosis becomes literal later in the series. In season 5’s ‘Succession’ during Ares’ contest to determine a worthy successor to Xena as his Chosen, he places Gabrielle and Xena into the same body. At dawn they discover that Gabrielle metamorphoses in to Xena and dusk, Xena into Gabrielle. This nicely alludes to Gabrielle’s story as they transform, much like the couple becoming entwine trees, two individuals become one entwined in each others bodies.
This physical metamorphoses happens in the series when it has become fully established that these two are soulmates, destined to be together for eternity. They are truly devoted to each other that they cannot be separated, just as the lovers cannot bear to be parted from each other even when they are transformed into trees.
As Gabrielle predicted at the end of her story, they both found their tree in the forest in each other.
Sources
Ovid, Metamorphoses
Whoosh.org, Episode Transcripts
Screen captures by myself
Thanks to Simjay on the Discord Xena group for the Gifs!
Mythological references in 'Chariots of War', part 1
In this episode Xena and Gabrielle face the warlord Cycnus and, you guessed it, some war chariots.
There are a few different men in Greek Mythology each with their own myth. The one that this episode is based on is Cycnus, the son of Ares and Pelopia or Pyrene. He was a warrior/bandit who challenge anyone he met on the road to a chariot race. Each time he defeated his challenger, he killed them and removed their heads so he could use the skulls to build a temple dedicated to his father, the god of war, Ares.
One of the earliest versions of this myth is found in ‘The Shield of Heracles’ which is credited to the poet Hesiod. Hesiod is one of the earliest Greek poets, though the exact date of his life is debated, it is generally believed to be somewhere around 750 and 650 BC.
The poem features the origins of Heracles before moving onto the confrontation between the hero and Cycnus. Hesiod begins the encounter with both sides preparing for battle alongside their drivers, filled with the desire to claim the prize of their foes armour. Claiming the armour of your fallen foes bestowed much prestige to the victor. Descriptions of the arms and armour heroes carried into battle features at the centre of many ancient works such as this. The description of Heracles’ highly decorative shield is the focal point of Hesiod’s work, hence its title.
Heroes are often depicted in myth riding into battle on chariots assisted by a companion who would act as a driver. Once the hero found an opponent he would disembark and engage the enemy on foot in one-on-one combat. Examples of this are found throughout ancient epics like Homer’s ‘The Illiad’. Hesiod includes the same with both warriors riding into battle with help. Heracles is aided by Iolau,s who acts as his driver, while Cycnus is accompanied by his father Ares.
After an initial clash with their chariots during which Heracles attempts to persuade Cycnus to stand down and let him pass, they both jump down from their chariots and engage in combat.
‘Then it was that from their well-woven cars they both leaped straight to the ground, the son of Zeus and the son of the Lord of War.’ - Hesiod
Cycnus is no match for Heracles and he is slain by the hero. Upon seeing the death of his son, Ares becomes enraged and seeks to avenge him. He rushes to attack Heracles who stands firm and unafraid of the god of War. Athene tries to intervene and get Ares to back off but he continues his attack. Unafraid, Heracles wounds the god, striking Ares in his thigh, forcing him to return to Olympus.
Athene, Heracles, Zeus, Cycnus and Ares. Attic black-figured amphora, ca. 550/30 BC. From Kameiros in Rhodes. Photographer/Source Jastrow (2006)
In some versions of the myth, Heracles encountered Cycnus during his famous labours. Cycnus challenges the hero and prevents him from continuing his quest. Again, Cycnus is defeated and Ares in his grief stands off against Heracles except it is Zeus that intervenes and breaks up their duel with his thunderbolt.
‘So Heracles proceeded on his way, until he arrived at the River Echedoros, where Cycnos, the son of Ares and Pyrene, challenged him to single combat […] to avenge him, Ares too engaged him in single combat, but a thunderbolt was hurled between the two combatants, bringing the fight to an end’- Apollodorus
Zeus tries to part Cycnus and Heracles Attic black-figured amphora, ca. 545/30 BC. Photographer/Source Jastrow (2006)
After reading the myth of Cycnus you may be wondering why they based a Xena: Warrior Princess episode on a myth regarding one of Heracles’ adventures. The Xena Warrior Podcast gives us the answer in episode 01 of their podcast. In it they review the episode and discuss in depth various elements including the origins of the story. They mention that it was originally penned as and episode for Xena’s parent show Hercules: The Legendary Journeys which is based on the adventures of the Greek hero Heracles (though they use his Roman name Hercules). Reading Hesiod’s version of the myth it you can see how easily the story can be adapted into an episode of Hercules as not only is the character of Iolaus featured helping the hero, but there is also the rivalry between Hercules and Ares.
I really recommend listening to the podcast as they raise some interesting points about how this effects the story. This being originally a Hercules idea confirms that the myth this episode is referencing is that of Cycnus, son of Ares.
One of the major differences, aside from Xena, is that Cycnus is not a demi-god in the episode. Unlike his mythic counterpart he is portrayed as a warlord praying on a simple village. This decision could be based on the writers trying to differentiate this show from its ‘big brother’, focusing more on the human element rather than the divine. Yet they still include a strong link to the God of War without including him as a physical character.
Cycnus in the episode is a warlord totally dedicated to Ares. In the character’s introductory scene with his son Sphareus references to Ares dominate the dialogue.
Sphaerus: “Hello, Father.”
Cycnus: “You’re growing more powerful, my son. Ares will be pleased.”
Sphaerus: “My warrior education is complete. I am ready to take your place.”
Cycnus: [Laughs] “Nah-- there’s still something missing-- the desire to kill.”
Sphaerus: “You’re wrong. Today, I killed a great warrior in the belly.”
Cycnus: “Who?”
Sphaerus: “She fell before I could ask her name.”
Cycnus: “A woman, ha-ha! You think that would impress the god of war?”
Cycnus straight away comes across as an overbearing father who has a deep devotion for his chosen God. Though Ares is not shown to be the father of Cycnus, there is still a fatherly connection in the way Cycnus uses the god to parent his own child. Here he doesn’t talk to his son directly in regard to his fatherly opinion of what Sphaerus has achieved, instead Cycnus passes Ares’ judgement. The line ‘You think that would impress the god of war?’ can easily translate as ‘do you think that would impress me, your father?’. The allusion of Ares as a fatherly figure is continued later when Cycnus orders his son to kill the villagers.
Cycnus: “And kill them all-- Make me proud of you, my son. Make Ares proud, huh? Make sure he kills them all.”
By referencing the god as a paternal influence, he becomes a second fatherly figure to Spheraus and alludes to the original myth of Ares helping his son Cycnus.
The relationship between the warlord and his son is one of main storylines of this episode. This maybe due to the original myth and this episode initially being planned as a Hercules episode. The character of Cycnus could easily have been Ares himself. Like Ares, he is trying to aid his son in combat by instructing him on the ways of war and inspiring Sphaerus’ blood lust. He also shares elements of the god’s temperament in response to the death of his elder son, Stentor. In hearing that it was Xena that interrupted the meeting, he storms off seeking vengeance against the Warrior Princess and to avenge the murder of his son much like the mythic Ares reacts at the death of his son Cycnus.
Perhaps the earlier Hercules idea had Cycnus instead of Sphaerus as the reluctant son, and Ares as the overbearing father. If you change the characters the plot still works and would tie in closer with the original myth with Cycnus seeking to impress his father and Ares defeated being defeated by Hercules. This plot would also have Hercules reform Cycnus instead of kill him which nicely modifies the myth to fit with the series’ overall themes.
Returning to Xena’s Cycnus he continues to bring up Ares in this opening dialogue with his son. He also gives us an alternative connection between the god of war and the warlord when he challenges Sphaerus.
Sphaerus: “But she was a--”
Cycnus: “The honor of keeping Ares’ horses falls to the mightiest warrior. He will not choose you merely because you’re my son. You must _prove_ yourself worthy.”
This line suggests that Cycnus has been given the task of looking after Ares’ horses which connects with the work of Hesiod. The writer uses the epithet ‘horse-taming’ (Shield of Heracles, 344) to describe Cycnus just as he drives his chariot towards Heracles. The writer also mentions the horses of Ares being depicted on the decorated shield of Heracles.
‘And on the shield stood the fleet-footed horses of grim Ares made of Gold, and deadly Ares the spoil-winner himself.’ Hesiod 191-193
The line in the episode could be a literal interpretation of these mythic elements in order build up Cycnus’ warlord character without making him a demi-god. It is possible that Cycnus is being literal here, that he has been entrusted with Ares’ horses, although more it is more likely that he has been intrusted with an army by Ares as one of his chosen warlords. This comes up throughout the series with Ares offering command to other warlords and most importantly tries to win back Xena to lead his army. As a side point, It is interesting to note that a few episodes later in ‘The Reckoning’ Ares will make his first appearance physically in either series, played by the wonderful Kevin Smith, and attempts to lure Xena back to her warlord ways. (Maybe Ares was trying to fill the vacancy caused by Cycnus’ death though this is just a wandering thought.)
Though Cycnus in Xena does not build a temple to his father from his defeated enemies, he does share his bloodthirsty nature in honouring the god of war. Later in the episode he is frustrated by his son’s inability to wipe out the villagers.
Sphaerus: “I am.”
Cycnus: “Yeah, why haven’t you conquered this valley yet? These farmers dishonor the god of war with their peaceful ways. Strike them down. If your brother Stentor were alive--”
These villagers are refugees from Troy (yup the one famous for the Wooden horse, I’ll cover the myths surrounding the Trojan War in another post). We learn later when the village leader Tynus confronts Darius about his decision to care for the injured Xena that they have taken a vow of peace.
Tynus: “We have to talk. Why is that woman still here? She’s not one of us, Darius. She fights. You’ve seen that with your own eyes. Her kind make enemies. She’ll have to leave your home.”
Darius: “No, she saved my son. She’s a guest in my home until she’s well.”
Tynus: “There’s talk, Darius. Your house has been without a woman for a long time. But, but this is not the answer. By keeping her here, you break your oath.”
Darius: “What oath have I broken, Tynus?”
Tynus: “To live only for peace.”
Darius: “To care for a wounded woman is not an act of war.”
Tynus: “She lied to you. Other people have heard of this woman. She’s no warrior. She’s a murderer, a killer.”
Darius: “As soon as she’s able to ride, she’ll leave.”
Tynus: “Good. You know, I hope, for your sake, she recovers quickly.”
Tynus is fearful of Xena not just because of her reputation but because she physically represents the violence that they have fled. Refusing to help her is symbolic of their rejection of anything related to violence and the elements related to Ares in his role as the God of war. It is this rejection which Cycnus sees as being dishonourable to the God of War and believes that shedding their blood will restore it, much like the mythic Cycnus uses the skulls of his enemies to build a temple to honour his father.
They also dishonour Ares by challenging the aspects of war in other, peaceful ways which is reflected in Darius’ treatment of Xena. Her armour is one way that she symbolizes violence and warfare. Feeling that her outfit would be inappropriate to wear to the peace meeting, he asks her instead to wear one of his wife’s dresses. The dress gives her the appearance of a peaceful village woman, quite possibly what she would have become if she had not picked up a sword (We see this possibility in Season Two’s ‘Remember Nothing’). She is therefore symbolically leaving behind the elements of the warrior to don the peaceful role as village wife, taking her another step away from Ares’ realm of war. Also, by asking her to change her appearance Darius is trying to maintain physical peace not only between the villagers and Cycnus’ men by removing her threating appearance, but also is trying to keep the figurative peace between Xena and the other villagers who are intimidated by what she represents.
There is a few other points you can make about the symbolism of the dress though as they don’t directly connect to the mythology of the episode I’ll put them aside for another post dedicated to that topic. The mythological references of this episode will continue in part two. Thanks again for reading!
Sources:
Hesiod, The Shield of Heracles
Apollodorus, The Library
Vase photos: Taken from Hellenicaworld.com
Episode transcript: Woosh.org
Screencaptures: Made by myself
Thanks for waiting!
Sorry for the long wait for the next myth and history Xena post. I'm still working on the Chariots of War references, it's just taking me a little longer to write than I thought it would.
I might break it down into two parts to make it easier to read as it is looking like it'll be a little bit longer then originally planned.