#State of Concept Athens

[qqueenofhades]

I suddenly thought of an interesting question. What is the purpose of democracy? Is it democracy for democracy's sake? democracy exists to protect human rights. Voting is one of the most typical expressions of democracy, but if, due to the tyranny of the majority—the so-called ‘will of the people’—the human rights of the country’s citizens are actually severely harmed (as in the case of this U.S. election), what then? Does democracy, at this stage, still have any meaning to uphold?I mean, suppose, at this moment, one party were to take power through undemocratic means, such as election manipulation, a coup, or assassination, but this party’s policies were, comparatively, more protective of human rights than the opposing party’s. From an objective standpoint of justice, should it be supported at this stage?🤔

I think this is indeed an interesting question and I'll try to answer it in two parts.

First, the idea that "democracy exists to protect human rights" is a considerably recent idea, and doesn't actually figure much into classical expressions/conceptions of democracy. As it was originally practiced in Athens, it had nothing to do with safeguarding the rights of marginalized groups (indeed, if anything, the opposite). It was just a system where groups of people, i.e. property-owning citizen men, were allowed to make decisions collectively, but it was still able to be adjourned at any time for a despot (in the classical sense) to resume autocratic authority. It just means a system in which the people (demos) have authority (kratia). That means, therefore, who constitutes as a "person" under the law is one of the longest-running questions (and struggles) in the entire history of the concept.

As it was then thought about in the Enlightenment and the 18th-century context in which the founding fathers wrote the US Constitution, "democracy" was very much the same idea of a small group of "worthy" but ordinary men making decisions in a quasi-elected framework, rather than as a single inherited monarchy. There was still no particular idea that "human rights" was a goal, and would have been foreign to most political theorists. There was an emerging idea of "natural rights" wherein man (and definitely man) was a specially rational creature who had a right to have a say in his government, but yet again, that depended on who was viewed as qualified to have that say. (The answer being, again, white property-owning Christian men.) There have been many constitutional law papers written on how much the founding fathers trusted the American electorate (not very) and how the American government was deliberately designed to work inefficiently in order to slow down the implementation of possibly-stupid decisions (but therefore also potentially-helpful ones). The Electoral College, aside from being an attempt to finesse the slavery question (did slaves count as people for purposes of allotting House representatives? James Madison famously decided they counted as three-fifths of a person), was a further system of indirect republicanism. Likewise, US Senators were not popularly elected on a secret ballot, the same as the president, until the passage of the 17th Amendment in 1913.

Of course at the same time in the 19th-early 20th century, the Civil War, Reconstruction and its end, Jim Crow, women's suffrage movements, were all ongoing, and represented further challenge and revision of what "democracy" meant in the American context, and who counted as a legally recognized person who was thus entitled to have their say in government. It was not until Black people and women began insisting that they did in fact count as people that there was any universal idea of "human rights" as expressed in popular democratic systems. This further developed in the 20th century in the world war context, and then in the decolonization waves in the 1950s and 1960s that dismantled European imperialism and gave rise to a flood of new nation-states. Etc. etc., the Civil Rights movement in America, the gay rights movement starting with Stonewall, and further expansion of who was seen as a person not just in the physical but the legal and actionable sense.

That's why we have political philosophy concepts of "electoral" and "liberal" democracies, and why they're not quite the same. In an electoral democracy, people have the right to vote on and elect their leaders, but there may be less protection of associated "liberal" rights such as freedom of speech, freedom of religion, freedom of expression and assembly, and other characteristics that we think of in terms of protected groups and individual rights. Liberal democracies make a further commitment to protect those rights in addition to the basic principle of voting on your leaders, but as noted, democracy does not inherently protect them and if you have a system where a simple majority vote of 49% can remove rights from the other 48%, you have a problem. Technically, it's still democracy -- the people have voted on it, and one side voted more than the other -- but it's not compatible with justice, which is a secondary question and a whole other debate.

In the modern world, autocrats have often been popularly elected, which is technically a democratic process, but the problem is that once they get there, they start dismantling all the civic processes and safeguards that make the country a democracy, and make it much harder for the opposition to win an election and for power to meaningfully change hands. See for example India (Narendra Modi/BJP), Turkey (Recep Tayyip Erdoğan/AKP), Poland (Jarosław Kaczyński/PiS), Hungary (Viktor Orbán/Fidesz), Russia (Vladimir Putin/United Russia) and America (Donald Trump/GOP). Some of these countries were more democratic than others to start with, but all of them have engaged in either significant democratic erosion or full authoritarian reversion. The US is not -- yet -- at the latter stage, as I have written about the features of the system that make it different from other countries on that list, but it's in the danger zone.

Lastly, the idea of "we're morally better and protect human rights but are willing to launch a coup/assassination/etc of the current government" has been claimed many, many times throughout history. It has never been the case. Not least since if a party in a democratic system, however flawed, is willing to throw aside the core feature of that system, they simply don't respect human rights in any meaningful sense. That's why we kept having "the people's revolutions," especially in the 20th century, that promised to uphold and liberate the working class and all ended up as repressive communist dictatorships functionally indistinguishable from the autocracies or even quasi-democracies they had replaced. In this day and age, does anyone want Online Leftists, who will cancel and viciously attack fellow leftists for tiny disagreements on the internet, deciding that they're going to overthrow the government and announce themselves the great protector of human rights? Aside from the fact that they couldn't do it even if they ever tried and stopped being insane keyboard warriors, I don't think anyone would believe them, and nor should they, because violent antidemocratic groups are bad. This is the sixth-grade level explanation, but it's true.

If you're so drastically committed to your ideology that you're willing to destroy everyone else for not agreeing (and even then, post-revolution, the revolutionaries always start eating each other), then you're not special or enlightened. You're the exact same kind of ideological zealot who has been responsible for most of the worst atrocities throughout history. When "I need to kill for my beliefs but I'll clearly only kill the right people" is your guiding philosophy, the "right people to be killed" quickly expand past any controls or laws. Why not, especially when you've just declared the law to be invalid? Pretty soon you're into death-squads and extrajudicial-assassinations territory, and no matter how soaringly noble your aims were to start with, you've become much worse than what you replaced.

This does not mean "we all have an obligation to obey oppressive governments because the alternative is worse," which has been likewise used by the oppressive governments who benefit from it. It just means that if a democracy is violently overthrown, what emerges from it -- no matter how nice their rhetoric might initially sound -- will invariably be much worse. Winston Churchill famously remarked that democracy is the worst form of government except for all the alternatives, and in this, I tend to agree with him. It sucks, but there's nothing that has yet been invented that can take its place or that has any interest in protecting human rights in the way that 21st-century liberal democracy has generally accepted it has an obligation to do, however partial, flawed, and regressive it can often be. Indeed right now, in this particular historical moment, the only feasible alternative is quite clearly far-right populist fascist theocratic authoritarianism, and that -- for you fortunate Americans who have never lived under anything like that -- is much, much worse. So yeah.

[whencyclopedia]

Diogenes of Sinope

Diogenes of Sinope (l. c. 404-323 BCE) was a Greek Cynic philosopher best known for holding a lantern (or candle) to the faces of the citizens of Athens claiming he was searching for an honest man. He rejected the concept of "manners" as a lie and advocated complete truthfulness at all times and under any circumstance.

He was most likely a student of the philosopher Antisthenes (l. 445-365 BCE, who studied with Socrates) and, in the words of Plato (allegedly), was “A Socrates gone mad.” He was driven into exile from his native city of Sinope for defacing currency (though some sources say it was his father who committed the crime and Diogenes simply followed him into exile). He made a home for himself in Athens in the agora, living in a rain barrel and surviving off gifts from admirers, foraging, and begging.

Diogenes famous "search for an honest man" was his way of exposing the hypocrisy and sham of polite societal conventions. By holding a literal light up to people's faces in broad daylight, he forced them to recognize their participation in practices that prevented them from living truthfully. He inspired others to follow his example, most notably Crates of Thebes (l. c. 360 - 280 BCE) who studied with him. Diogenes is still highly regarded in the present day for his commitment to truth and living according to his beliefs.

Diogenes' Beliefs

Diogenes came to Athens where he met Antisthenes (one of many of Socrates' students who established his own school) who at first refused him as a student but, eventually, was worn down by his persistence and accepted him. Like Antisthenes, Diogenes believed in self-control, the importance of personal excellence in one's behavior (in Greek, arete, usually translated as `virtue'), and the rejection of all which was considered unnecessary in life such as personal possessions and social status.

He was so ardent in his beliefs that he lived them very publicly in the market place of Athens. He took up residence in a large wine cask (some sources claim it was an abandoned bathtub), owned nothing, and seems to have lived off the charity of others. He owned a cup which served also has a bowl for food but threw it away when he saw a boy drinking water from his hands and realized one did not even need a cup to sustain oneself.

This much can be said with more or less assurance but any other details become increasingly uncertain owing to the many fables which grew up around Diogenes and his time in Athens. Even the claim that he was Antisthenes' student has been challenged as a fable. It seems clear, however, that Diogenes believed what people called `manners' were simply lies used to hide the true nature of the individual.

He was known for brutal honesty in conversation, paid no attention to any kind of etiquette regarding social class, and seems to have had no problem urinating or even masturbating in public and, when criticized, pointed out that such activities were normal and that everyone engaged in them but hid in private what he did openly.

According to Diogenes, society was an artificial contrivance set up by human beings which did not accord well with truth or virtue and could not in any way make someone a good and decent human being; and so follows the famous story of Diogenes holding the light up to the faces of passers-by in the market place looking for an honest man or a true human being. Everyone, he claimed, was trapped in this make-believe world which they insisted was reality and, because of this, people were living in a kind of dream state.

He was not the first philosopher to make this claim; Heraclitus, Xenophanes, and, most famously, Socrates all pointed out the need for human beings to wake from their dream state to full awareness of themselves and the world. Plato's famous Allegory of the Cave is devoted to this very theme. Diogenes, however, confronted the citizens of Athens daily with their lifelessness and shallow values, emulating his hero Socrates whom he never met but would have learned of from Antisthenes. Although it seems many people thought he was simply mentally ill, Diogenes would have claimed he was living a completely honest life and others should have the courage to do the same.

Continue reading...

[mamaestapa]

maybe joe gushes about you in an interview or post game press conference, maybe even like a speech from winning something

My Girl|| Joe Burrow x reader

•pairing: Joe Burrow x reader

•summary: During a post game press conference, Joe gushes about getting to spend the bye week with you

•warnings: none, all fluff

“So Joe, first of all congrats on the win.”

Joe nodded as he spoke, “It’s always good to, to win against a team like them.”

The Bengals had just beaten the Chiefs 23-20. The entire game was close, each team going back and forth with scoring. With just seconds left, Evan McPherson scored the game winning field goal, giving the Bengals another win before their mid season bye week.

“What are your plans for the bye week?” another reporter asked, causing Joe to move his gaze to the female reporter. He nodded as she continued.

“Watch film? Practice? Work out? Relax?” the reporter finished with a chuckle. A small smile made its way onto to Joe’s face as he answered the question.

“Yeah I plan on relaxing a bit, take a little break from the heavy workouts. I’ll definitely some film though, gotta keep that win streak going when we get back.” he smirked. Joe loved winning. Especially against the Chiefs. The Bengals were never the favored team when they play the Chiefs. It always felt good to prove all of their doubters and haters wrong.

He cleared his throat, a blush creeping onto his cheeks as he spoke, “But uh, I’m actually going to spend most of it with Y/n, my girlfriend. She’s got some family in another state that we’re going to visit for a few days, take a mini vacation. I don’t get to spend a lot of time with her during the season, so I’m very excited.”

“Awe,” the reporter cooed, “I bet she’s excited too.”

Joe nodded, a smile pulling at his lips, “Yeah, she is. Like I said, she and I don’t get much time with just the two of us during the season. It’ll be good for us to take a little vacation together away from football.” He gushed as he talked about you.

“And you’ve been with her for how many years now?”

“Four. Met her my last year at LSU.” Joe said, a happy smile on his face.

You met Joe after the season opener in 2019. You were at your best friends house who happened to be dating someone on the football team at the time. The two of them were throwing a party and you and Joe both happened to be invited. He met you while you were pouring yourself a drink. The two of you hit off instantly, the night ending with him asking you out on a date. You went on a date in downtown Baton Rouge Friday after your classes and the rest was history.

“Do you guys take many vacations during the off-season?”

Joe shook his head, “Not really. We usually take one or two, but we like to stay in Cincinnati or Athens. But the off-seasons nice cause I get to spend all of it with my girl, so yeah.” Joe smiled. He didn’t talk about you often in interviews or press conferences because he liked to keep that part of his life pretty private. However, Joe didn’t mind gushing about you or your relationship every once in a while. The fans deserved to know how much he adores you.

A different reporter spoke up, “Will we be seeing an engagement in the future?”

Joe shrugged as a sly grin made its way onto his face, “Maybe.”

That’s all the confirmation the reporters and the football world needed. You were going to be Joe Burrow’s girl forever.

hey loves!!

first blurb of the night!🤩 this was a bit on the shorter side, but all blurbs will be different lengths depending on the concept and idea i get.

i’ll be posting some more in a bit :)

feel free to send me more ideas!! i won’t get to them tonight, but definitely in the next couple blurb nights!🤍

[citrineandrosmarin]

🦉Athena Masterpost: Domains🦉

🐍 Masterpost Link 🐍

Last updated: Date of Publishing

Athena, Goddess of…

Metis

As a concept, metis could be translated and understood as meaning “practical wisdom”, “cunning”, “prudence”, “craftiness’ or “skill,” but it is often simply translated into “wisdom.” To many, this word conjures up the image of an old sage, a scholar surrounded by books and full of knowledge. But this was not how metis was conceptualized in ancient Greek culture.

Metis is “a complex but very coherent body of mental attributes and intellectual behaviour which combine flair, wisdom, forethought, subtlety of mind, deception, resourcefulness, vigilance, opportunism, various skills, and experience acquired over the years." It is an intelligence which is often associated with trickery and deception, adaptability, improvisation, shifting movement, shape-changing, quick thinking and seizing the opportunities at the right moment (kairos). Metis is more focused on getting practical results and success within an activity, not theoretical knowledge, and could be applied to many areas of life: "It may involve multiple skills useful in life, the mastery of the artisan in his craft, magic tricks, the use of philtres and herbs, the cunning strategems of war, frauds, deceits, resourcefulness of every kind."

Metis is also not limited to humans, but also applied to animals, such as foxes, fish and octopuses - animals with ‘cunning tricks’ (dolos) and deceptions that allow them to catch their prey or evade their predators. "The world of duplicity is also a world of vigilance: both the fishing frog squatting in the mud and the octopus plastered to its rock are on the alert; they keep a look out, are on the watch for the moment to act. Every animal with metis is a living eye which never closes or even blinks."

This was the kind of cunning we would associate today with the trickster archetype, not the book-loving sage. Athena was not the only deity to have metis (for example, Zeus is another major one) but this concept is a core part of who she is and influences her other associations and her connections with other deities.

Sources:

“Cunning Intelligence in Greek Culture and Society” - Marcel Detienne, Jean-Pierre Vernant

“Athena” - Susan Deacy

🐍Excerpts from “Cunning Intelligence in Greek Culture and Society”

Skill: Related to metis in that it’s very practical, with some intuitive sense but also dependent on experience and practice. This can be applied to many areas of life, though in Athena’s case it was often in relation to war, crafts, sailing and invention.

Crafts: Mainly associated with weaving, Athena was also worshiped in the festival of bronze smiths and artisans, Khalkeia. This aspect is very closely related to skill - as the word for both is ‘tekhne’ (τέχνη). This word is also one related to metis and associated words.

Invention: Athena is known as an inventor, with particular inventions being the bridle, plough and aulos. This aspect is also related to metis, craft and skill.

War: Although typically associated with the skills of war, and strategy, Athena was also associated with war in the same way that Ares was - she was ‘dreadful’ Athene “concerned with works of war, the sack of cities and the shouting and the battle.” (Homeric Hymn 11 to Athena)

🐍On the comparison of Athena and Ares

🐍Iliad - Athena dons the Aegis

Civilization, Politics & Justice: Athena in cult was often paired with Zeus, and these two presided over a number of civic institutions, for example the boule (a council that ran the daily affairs of the city) was watched over by Athena Boulaia and Zeus Boulaios. Athena was closely tied to the Athenian state and in myth was also heavily involved in the first criminal trial - that of Orestes.

Hero Mentorship: Athena was often involved in guiding, aiding and mentoring heroes such as Diomedes, Odysseus, Telemakhus, Herakles, Bellerophon and Perseus.

🐍Athena and Herakles Wedding Imagery

Education and Knowledge [SPG]: Athena’s modern associations with education and intelligence come from how she was adapted in post classical times as an allegorical symbol for church-approved virtues of wisdom and justice. The Renaissance furthered this connection, as she became a symbol of the arts, education, science, human excellence, and liberty.

Information Technology [UPG]: My personal UPG, based in part on Athena's associations with invention, civilization and knowledge, and in part on my own understanding of her character and my relationship and practice with her.

[semolinapudding]

I fall in love with souls, not faces.

A concept of a romantic story with Venti in which Venti falls in love with a human for the first time.

In this story, Venti is attracted to not only you as yourself, but your very soul, your essence, and both of your souls become tied together by being compatible. After the loss of the nameless bard which he could not get over so early in his archon years, his sorrow and loss is manifested into the attachment and love to you.

Oh, how beautiful love is. Only now he can understand it himself. Being human. If only he was... Because your fates are two different paths, he's an archon and you're a mortal, and you're not meant to be by nature.

Barbatos the god of freedom and death. Who frees the souls into the after life or into rebirth on earth. They say that everyone will meet Barbatos once in their lifetime, and is when their lives are fading. Barbatos appears then with his wings and hands open, welcoming your soul. That's what you see when you fade from life young. Barbatos and Venti, the same being, guiding you to dance in the space between life and death, prolonging this sweet and painful connection for some little more time.

And when he guides your soul to rebirth, it does not go back on earth untouched. He leaves trails of anemo infusion within you, meant to bring you back to him again, in your next life, back to the Anemo god that's dedicating his immortality to only one soul.

A faint birth mark of the color of anemo is on your hand. The unique mark which means is that you belong to Barbatos, but you don't know. You're reborn, and meeting him again is once again the first time for you, but for him it's not.

And every time you die, every time he relives the pain, each time he sends your soul to be reborn, each time falling in love with you over and over, waiting for you. He can't let go of your soul, it keeps reliving in Teyvat instead of flying to the heavens.

And each time you're reborn, you always only love one song he sings, the same favorite song. It becomes a deja Vu. The more you're reborn, the more you get deja vu's, until you begin to remember, you get so aware.

The Anemo infusion into your soul brings memories back to you, like the winds that hold whispers and secrets. Your mind and soul are no longer two separate essences but they get merged, and you, in your essence are now just a fully aware soul with a mind and body, remembering what you shouldn't. Nature doesn't follow its natural state because you know Barbatos has loved you till the beginning of time and has never let go.

Archons are such weak and fragile beings in their essence. Tormented in their own pain, unable to bear the concept of human life. Of death. They get attached to humans and things more than anyone ever does.

At what point does immortality not feel like strength, but rather like a painful curse and fragility?

"My blume, don't you know, archons are nothing without humans? Humans can live without archons, but archons would not survive without humanity. Immortality is a curse, painfully engraved into our fates."

Who wants this story written?

[ironspdr6700]

WHY IS CLYTEMNESTRA JUST AND GUILTY AT THE SAME TIME (ACCORDING TO AESCHYLUS)?

Medical school, unfortunately, has been taking up more of my reading time than I'd like. But since we're on 14-HOURS blackouts now, it gives me time to at least read my favorite Greek tragedies in more detail. And of the big 3… My favorite by far is Aeschylus.

I recently read some passages from Gilbert Murray's book "Aeschylus: Creator of Greek Tragedy" and I can't recommend it enough for anyone who is a fan of the Oresteia, because you read Murray first and then you re-read Aeschylus in a totally different way and all the parts that seemed incomprehensible at first make sense. I've read a lot of posts here on Tumblr that defend or demonize Agamemnon or Clytemnestra or Electra, defending one, condemning the other or claiming that they are all equally bad, but I think the problem is that we read the saga of the house of Atreus from our modern perspective. And I think that shows that we don't know how to read Greek tragedies. Tragedy… AUTHENTIC GREEK TRAGEDY AS AN ARTISTIC CREATION, according to Aristotle, should provoke TERROR and COMPASSION in the viewer at the same time. Tragic heroes are different from the rest of traditional heroes because they are not worthy of being imitated, but are trapped in a situation that none of us would want to be in. And we regret that because if we were in their place we wouldn't know how to make a better decision.

Precisely because we are a modern audience, we feel more comfortable with Euripides' theatre, his criticism of mythology and the lack of ethics of the gods (don't get me wrong, I love his Medea and the Trojan Women, which is, in my opinion, one of the greatest treasures of universal literature), but we find it difficult to get into the thought of Aeschylus.

Because Aeschylus belongs to the last link of Archaic Greece, which was transformed into the Classical and rationalist Greece of Euripides, Socrates and Thucydices. Aeschylus was a deeply religious man who lived through decades of transformation: the passage from tyranny in Athens to aristocracy and then to democracy, the battles of Marathon and Salamis between the small Greek city-states against the "excessive" Persian empire and the beginning of the golden age of Athens marked his vision of the world that Divine Justice had an active participation in the world to always balance the scales.

And this also involves a transformation in the conception of Law and Justice in that period of Greek thought. Like the archaic idea that justice is only a synonym for revenge, it becomes a state-mediated process to maintain social peace. According to the archaic conception EVERY MURDER OF ANY MEMBER OF THE FAMILY MUST BE AVENGEANCE, it is not an option, it is an OBLIGATION. From that point of view, Clytemnestra has every right in the world to take revenge on Agamemnon for the sacrifice of Iphigenia, not even the Furies have anything against her because she is not Agamemnon's blood relative, which, superficially, would seem to close the cycle. The only problem is that this is a cycle of violence, and the more violence you add, the more times the cycle keeps repeating itself and the more the wheel of Ananke, the Need to satisfy the spilled violence, keeps turning.

Clytemnestra calls for help from Zeus, "Zeus, through whom all things come to an end", so that she can succeed in her plan. If Clytemnestra kills Agamemnon, it is because ZEUS HAS ALLOWED HER TO DO SO. In Aeschylus, no event ever happens that was not the will of Zeus. Zeus is the guarantor of destiny, the protector of supplicants, the guardian of hospitality… And he is also Zeus the Avenger, in charge of making sure that everyone pays for their crimes in due time. And Agamemnon has a long list of crimes to carry out, not just Iphigenia; as leader of the expedition against Troy, he has allowed the army to destroy everything during the siege, including the altars of the gods… the refuge for the supplicants.

"The altars and temples of their gods have disappeared; the entire race of a people has been annihilated."

Zeus, as guardian of hospitality, sent Agamemnon and Menelaus against Troy for the abduction of Helen:

"Paris, who, having been welcomed into the home of the Atreids, dishonoured the table of hospitality by the abduction of a wife."

But Agamemnon allows his army to GO TO OVER THE TOP IN REVENGE

"Paris will never boast, nor the city that was his accomplice, that the deed outweighed the punishment… he lost the stolen garment, and ruined the house of his parents along with his own country. WITH DOUBLE PUNISHMENT the sons of Priam PAID FOR THEIR GUILT."

So now it is Zeus, Suppliant and Avenger, who must again balance the scales.

"Now those who conquered my country are in turn sentenced by the gods."

As a second point in favor, Clytemnestra, at least in the first work of the trilogy, is more than just a woman, she seems more like she is possessed by a divinity:

"…say not that I am the wife of Agamemnon. That ancient and fierce spirit of vengeance that garnished the cruel feast of Atreus, that is he who, taking the appearance of the wife of him who lies there, avenged on a man the sacrifice of two children."

This was part of archaic thought, the idea of ​​demons or minor divinities that influence the thought or behavior or actions of human beings and also that the crimes of parents must be paid for by their children if they are not avenged. One of the most interesting posts I read is one that commented that, in archaic literature, one never knows exactly where human freedom begins and where divine will ends. BUT THIS DOES NOT MEAN THAT FREE WILL DOES NOT EXIST AND THEREFORE THAT HUMAN BEINGS ARE EXEMPT FROM RESPONSIBILITY FOR THEIR ACTIONS.

And this is where Clytemnestra also becomes guilty. First, because she murders Cassandra, a Trojan princess, a priestess, a slave who has no say.

"I am forced to suffer the yoke of slavery"

She treats her as if she were Agamemnon's lover, which highlights 1) Clytemnestra's hypocrisy, because she had also taken Aegisthus as a lover, and 2) this is more important, THE LACK OF COMPASSION. Greek tragedy must generate terror and compassion because they are the two emotions that make us human. Only the person who is authentically compassionate, that is, literally feels the suffering of others as their own, as a shared experience and inheritance, can be called an authentic human being in the highest spiritual sense of the word. Clytemnestra HAS NO PITY, on the contrary, she delights in the very violence she commits:

"She, after singing her funeral dirges like a swan, fell too, and lies there beside her lover. Delicious contentment that satisfies the pleasures of my loves!"

Clytemnestra triumphs as Iphigenia's mother, but fails as a queen, just as Agamemnon triumphs as a king but fails as Iphigenia's father. Clytemnestra does not care about the opinion of the chorus of elders, she does not care that Aegisthus establishes a tyranny and that the respect for majesty that Agamemnon did have for his subjects is transformed into fear, into threats of hunger and deprivation for those who oppose her.

It is true that Clytemnestra is justified (Justice in the most archaic sense of the word) in her revenge in the first act, but that does not give her the right to laugh, or even to feel proud of what she has just done. "For my own part, I boast of my work. If it were lawful to pour libations on a corpse, they would be just, most just on this occasion." Not even Odysseus, who murdered 108 people in his own house despite having received the approval of Zeus and Athena, takes delight in the slaughter, because "it is not godly to rejoice over the death of these men."

In the end, Clytemnestra does not seem to die for killing Agamemnon (that is Aegisthus). She dies for having killed Cassandra, as she herself prophesies:

"… when a woman pays for my life with her life, and a man atones with his blood for the blood of the unhappy husband of a bad wife… I ask you that my hateful murderers receive from my avengers the payment for the easy death of a defenseless slave."

And that is what leads Orestes to be one step closer to absolution than Clytemnestra will ever be. Orestes obeys Apollo's orders, but against his will, forced by fate, he finds neither pleasure nor satisfaction in matricide. It is the first step that will later lead him to be absolved by Athena. While Clytemnestra, even in death, has no compassion, she cannot forgive even her own son when he sees himself subjected to an unwanted fate.

[haggishlyhagging]

The rape of the Goddess in all of her aspects is an almost universal theme in patriarchal myth. Zeus, for example, was a habitual rapist. Graves points out that Zeus's rapes apparently refer to Hellenic conquests of the Goddess's ancient shrines. The early patriarchal rapes of the Goddess, in her various manifestations, symbolized the vanquishing of woman-identified society. In the early mythic rapes, the god often assumed a variety of animal forms; the sense of violence/ violation is almost tangible. In christianity, this theme is refined—disguised almost beyond recognition.

The rape of the rarefied remains of the Goddess in the christian myth is mind/spirit rape. In the charming story of "the Annunciation" the angel Gabriel appears to the terrified young girl, announcing that she has been chosen to become the mother of god. Her response to this sudden proposal from the godfather is totaled nonresistance: "Let it be done unto me according to thy word." Physical rape is not necessary when the mind/will/spirit has already been invaded. In refined religious rapism, the victim is impregnated with the Supreme Seminal Idea, who becomes "the Word made flesh."

Within the rapist christian myth of the Virgin Birth the role of Mary is utterly minimal; yet she is "there." She gives her unqualified "consent." She bears the Son who pre-existed her and then she adores him. According to catholic theology, she was even "saved" by him in advance of her own birth. This is the meaning of the "Immaculate Conception" of Mary— the dogma that Mary was herself conceived free of "original sin" through the grace of the "savior" who would be born of her. This grace received in advance, described by theologians as "grace of prevention or preservation," is something like a supernatural credit card issued to a very special patron (matron). Mary's credit line was crossed before she was even conceived. Double crossed by the divine Master Charge system, she was in a state of perpetual indebtedness. Still, as I have explained elsewhere, despite all the theological minimizing of Mary's "role," the mythic presence of the Goddess was perceivable in this faded and reversed mirror image.*

* In order to understand the Background of Mary, Hags should recall that she was known as "the new Eve." This leads us to look into the Background of Eve who, in hebrew myth, was a dulled-out replacement for Lilith, Adam's first wife. Patai writes of Lilith as portrayed in the Talmudic period: "When Adam wished to lie with her, Lilith demurred: 'Why should I lie beneath you,' she asked, 'when I am your equal since both of us were created from dust?'" (See Raphael Patai, The Hebrew Goddess, p. 210.) Any Crone-ographer, of course, can recognize this as a watered-down version of what Lilith really might have said, which would hardly have been an argument for mere "equal rights." As for Eve, constructed from Adam's rib—Peggy Holland has pointed out that this is an interesting mythic model: the first male-to-constructed-female transsexual. Patai affirms that it was Lilith who persuaded Eve to eat of the Tree of Knowledge and he acknowledges that Lilith was a Hag (pp. 210-13). According to Cirlot, Lilith, in the Israelite tradition, corresponds to the Greek and Roman Lamia. (See J. E. Cirlot, A Dictionary of Symbols, trans. by Jack Sage [New York: Philosophical Library, 1962], p. 180.) Graves puts more of the pieces together, indicating that Lamia was the Libyan Neith, also named Anatha and Athene. (See Robert Graves, The Greek Myths, I, 61, 1. Graves adds that "she ended as a nursery bogey" (which is, of course, the fate of all Hags/ Crones/ Witches in patriarchal myth). Lilith is also identified with Hecate, the lunar goddess and "accursed huntress." After pointing this out, Cirlot remarks: "The overcoming of the threat which Lilith constitutes finds its symbolic expression in the trial of Hercules in which he triumphs over the Amazons" (Ibid., p. 180). Since Hecate was associated with hares, this suggests that rabbits are in the Virgin Mary's Background. Given the parthenogenetic propensities of rabbits and given the reversal mechanisms of patriarchal myth, this association makes sense. We are also led to think about the identity of the familiar "Easter Bunny" (and about the reversal involved in the image of "Playboy Bunnies"). Finally, when considering Lilith, Hags should note that this name is said to be derived from the Babylonian-Assyrian word lilitu, meaning a "female demon, or wind-spirit." (See Robert Graves and Raphael Patai, Hebrew Myths: The Book of Genesis [Garden City, N.Y.: Doubleday, 1964], p. 68.) This is interesting in view of the fact that the name of the "Holy Spirit," who is believed to have impregnated the Virgin Mary, is derived from the Latin spiritus. Is the holy spirit trying to copy Lilith? Also fascinating is the thought that since, as we have seen, Yahweh is a derivative and reversal of the Goddess, one of whose primary names is Lilith, he is exposed as an imposter, a female impersonator, and a transsexed caricature of that Great Hag herself.

-Mary Daly, Gyn/Ecology

[arthenaa]

house of arthena — masterlist, introductory, and rules

INTRODUCTORY —

writer: athen/ayen | 20 | he/him | sapphic | INFP-T

occupation: freelance artist, college student, writer

birthday: 10/04/2003

nationality: 🇵🇭

kins (can be best compared to irl): mizu, caelus, ominis, ren amamiya, sun jing (physical wise), geto suguru

interests:

media — blue-eyed samurai, jujutsu kaisen, shingeki no kyojin, chainsaw man, detroit become human, red dead redemption, hogwarts legacy, persona 5 royal, valorant, honkai star rail, genshin impact

artists — nct (all units but prefers dream), riize, lesserafim, newjeans, bada lee, lee youngji, laufey, kiss of life, exo

will write for the following — mizu, gojo satoru, geto suguru, ieri shoko, nanami kento, fushiguro megumi, kugisaki nobara, zenin maki, okkotsu yuuta, eren jaeger, pieck finger, mikasa ackerman, armin arlert, annie leonhart, makima, quanxi, power, aki hayakawa, denji, connor (all rk series), john marston, arthur morgan, sebastian sallow, ominis gaunt, imelda reyes, ren amamiya, akechi goro, jett, cypher, sage, reyna, neon, fade, iso, gekko, chamber, yoru, sova, jingyuan, danheng, blade, kafka, seele, albedo, xiao, kaeya, raiden ei, yae miko, alhaitham, childe, knave, nct dream, bada lee, hong seunghan, park wonbin, lee sohee, huh yunjin, kim chaewon, byun baekhyun, do kyungsoo

read more to check rules and list of works!

rules (for requesting)

— writer has the right to refuse request

— writer is a full-time college student and a part-time freelance artist doing commissions, there is no set time that he will upload and post said requests

— only refer to the list above when requesting (if your character despite in the same media listed above is not included, you may dm the writer if he is willing to write the request or simply state it in the request ask linked on his bio)

— writer prefers writing in gender-neutral terms or she/her pronouns, he will use this unless stated otherwise so make sure to include it in your requests

— nsfw is okay but always keep in mind rule 1

— writer appreciates reactions such as comments or reposts with messages a lot! <3 it just makes writing fun and enjoyable to know that his readers are enjoying his works :)

— writer will only do oneshots or 2-3 chapter works, (oneshots with multiple parts under the same theme eg. modern!au mizu or nocturne(interlude)!mizu are counted as oneshots under the same theme. they can be read as solo or just under the same category) longer chapter series will be done through commissions.

— if reader wishes to commission, refer to pinned.

LIST OF WORKS —

Blue-Eyed Samurai

nocturne (interlude) (p1)

my love mine all mine (p2)

blurred lines (roommate!mizu)

mizu as your roommate (pre-blurred lines)

creative team lead!mizu x concept artist!reader

Jujutsu Kaisen

GOJO SATORU

can't think right, too tongue tied, it must be love

Hogwarts Legacy

Masterlist here

Honkai Star Rail

KAFKA

Feelings with Kafka 18+

DAN HENG

Perception

ART

mizu x oc! blurred lines

nier x sebastian hogwarts legacy

seb x mc commission

nier and nora (ocs hl)

stelle x asta

ominis x mc x seb

tbotb concept art hl series

If you have any concerns or questions you'd like to ask, click the question mark emoji on my blog bio! or if you want to support me as an artist hehe listed below is my kofi. tysm!

[gemsofgreece]

could you talk more about constantinople university?

Hey, I am sorry for the very late reply. This past week was very difficult. Anyway I assume you are asking about the main educational institution in Constantinople at the times of the Byzantine (Eastern Roman) Empire.

First of all, I should start this by saying a few basic things about the educational system in the Byzantine Empire. The Byzantine Empire had the best primary education in Europe and one of the best in the known world at the time. All peasant children were able to receive education, that is, both boys AND girls, which was unheard of in most other places. As a result peasant men and women attained a satisfactory level of education for the standards of the time.

Higher education was received mainly through private tutoring, which means that this was in fact a privilege of the rich and upper middle classes. Private tutors could also be hired by women who, even though they could not work in professions of a high academic profile (except they could become doctors for women), were still able to educate and improve on themselves just for the sake of it.

The University of Constantinople

When the Roman Empire was spilt in two in 395 AD, the Hellenized eastern part of the empire already had a few famed schools in some of its greatest cities (i.e Academy of Athens, the schools in Alexandria, Antioch, Beirut, Gaza). Those remained the hotspots for higher education for a few centuries, mostly until the Arab conquest in the 7th century.

In 425 AD Emperor Theodosius II founded the state funded Pandidakterion (Πανδιδακτήριον) in the Capitolium of Constantinople, what is supposed to be the original form of the University of Constantinople. According to some sources the concept of this school was actively supported by Theodosius's sister Pulcheria and his empress wife Aelia Eudocia the Athenian. The Pandidakterion was not exactly a university in the modern sense; it initially did not offer courses in various fields of sciences and arts from which students could choose their studies and career. The Pandidakterion's aim was to train specifically those who pursued a career as civil servants for the administration of the Empire and the secular matters concerning the Church. The courses taught were: Greek Grammar, Latin Grammar, Law, Philosophy (students were taught Aristotle and particularly Plato) and Rhetoric (with an emphasis in Greek rather than Latin rhetoric). That last one was considered the most challenging course. Pandidakterion did not teach Theology; this was the responsibility of the Patriarchal Academy. There are sources which list the Pandidakterion indeed as a university though and perhaps it is the closest thing to a university you could have gotten that early in time.

Meanwhile, in Constantinople and other large cities of the empire there were various academies of theology, arts and sciences but those were not universities. Also, as stated above, it was after the 7th century that Constantinople became the center of Byzantine higher education. In the 7th and the 8th century the Byzantine empire was attacked by Slavs, Arabs, Avars and Bulgars, loosening the focus to education. All this and the Iconoclasm seemed to have had adverse yet non permanent effects on the function of the university. The dynasty of the Isaurians (717 - 802) renamed "Πανδιδακτήριον" to "Οικουμενικόν Διδασκαλείον" (Ecumenical School).

The 9th century signifies a new prosperous era for higher education. There are some conflicting sources for that time - according to some the Pandidakterion was moved to the Palace of Magnaura and according to others this is an erroneous conflation of the Pandidakterion in the Capitolium with the new University of the Palace Hall of Magnaura (Εκπαιδευτήριον της Μαγναύρας). Whatever the case is, this renovated or entirely new school was founded by Vardas (842 - 867), uncle of Emperor Michael III. Mathematics, geometry, astronomy and music were added to the courses. The school then was managed by Leon the Mathematician (790 - 869) from Thessaly. Studying there was free.

In the 10th century, Emperor Constantine VII Porphyrogennitos promoted the Pandidakterion and supported it financially.

In 1046 Constantine IX Monomachos reformed the actual Pandidakterion of the Capitolium into two large faculties operating in it; the "Διδασκαλείον των Νόμων" (School of Law) and the "Γυμνάσιον" (Gymnasion). The School of Law retained its purpose to train the civil servants whereas the Gymnasion taught all the other sciences (i.e philosophy, mathematics, astronomy, music). At the time Pandidakterion had a clear resemblance to a typical university. The principal of the Law School was called "Νομοφύλαξ" (nomophýlax), Guard of Law. A notable nomophylax was Ioannis VIII Xiphilinos (1010 - 1075) who was an intellectual, jurist and later Patriarch of Constantinople. The principal of the Gymansion was called "Ύπατος των Φιλοσόφων" (Consul of the Philosophers). Notable Gymnasion principals were Michael Psellos (1018 - 1078), one of the most broadly educated people to have lived in the Byzantine empire or the middle ages even. Psellos was a Greek monk, savant, courtier, writer, philosopher, historian, music theorist, poet, astronomer, doctor and diplomat. He was notoriously horrible at Latin although given the extent of his studies it is unclear to modern historians whether his Latin knowledge was genuinely poor or he played it up as an act of disdain (he was totally the type to do that). Another notable principal was Ioannis Italos (John the Italian), a half-Italian half-Greek from Calabria, who was Psellos' student in classical Greek Philosophy.

The function of the Pandidakterion as well as all high education in the Byzantine Empire was ceased after the capture of Cosntantinople by the Crusaders in 1204. The Byzantine royalty did however survive through the small Empire of Nicaea and they supported financially the private tutors. After the liberation of Constantinople by the Byzantines in 1261, there were efforts to restore the higher education institutions. Michael VIII Palaeologos, the emperor who recovered the city, reopened the university and appointed as principals Georgios Akropolitis, a historian and statesman, for the Law School and Georgios Pachymeris, a historian, philosopher, theologist, mathematician and music theorist, for the Philosophy School (Gymnasion).

However, the University never returned to its previous status and smooth function. It slowly passed fully under the Church's management in order to survive, while the rest of the teaching was again done by private teachers. This was the case all the way to the Fall of Constantinople to the Ottoman Turks in 1453. Only one day after the capture of Constantinople, Sultan Mehmed II founded a madrasa as the primary educational institution of the city. Madrasa is an arabic name for an Islamic higher education religious institution. In 1846, this insitution was reformed into a university in the likes of the typical Western European universities. Until 1930 many old sources referred to this university confusingly as "University of Constantinople" because the city's name had not actually changed until that time. However, this institution was not the same to the Pandidakterion, the university of the Byzantine Age. In 1930, the city's name was officially changed from Constantinople to Istanbul and the university was renamed in 1933 to "Istanbul University" and it operates like this, being the first university of the Republic of Turkey.

What about the Pandidakterion though, the first University of Constantinople? Well, it ceased to exist, unlike the Patriarchal Academy which re-opened one year after the Fall of Constantinople, in 1454, refounded as the Phanar Greek Orthodox College, which operates to this day.

*Forgive any potential inaccuracies, some sources were really conflicting, especially about the possible Pandidakterion and the Magnaura School mix up.

[dragon-communion]

Now that I've caved and made an entire St. Trina sideblog, it's time for me to truly become my final form: an unhinged anthropologist with the power to make headcanons to fill in the gaps of life and times in the Lands Between.

Fittingly for a story with intense Christian themes, the early stages of Marika's empire are intensely Roman. As such, I think it's safe to pull ideas from various sites around the Mediterranean. While there's little to no Egyptian influence, or indeed much from the northern edge of Africa period, Elden Ring manages to hit every other point from Spain (Lionel's armor, St. Trina's sword) all the way over to Iraq (Uhl= Ur).

So while figuring out what worship of St. Trina looked like on a wider scale, I've been tempted to utilize the concept of folk saints- saints not approved of or canonized by the Pope, typically having roots in an indigenous culture. While I don't think anything about her directly conflicted with Marika's goals, she's notably worshipped by factions that generally want nothing to do with the Erdtree (albinaurics, merchants).

At the same time though, Miquella and Mohg look like a BLATANT Hades and Persephone reference to me. Hades even wields a spear, and Mohg has set up shop in a distinctly Greek-looking temple. Miquella, flowers and youth and essentially springtime personified, getting kidnapped for marriage by a man who lives in a temple under the earth and has rarely seen the light of day? I can work with that. I can do some insane things with that.

Let's talk Greek mystery cults, and the most famous one of them all: the Eleusinian Mysteries.

As the name implies, historians really don't have a lot to go on when it comes to the content of mystery cults. What happens during initiation stays in initiation, and so on. We can draw a few conclusions based on scattered textual references of guys that broke the oath, but nothing as solid as a playbook of events. We can say this much: there was a very long pilgrimage on foot that included singing and fasting, there was alcohol when they finally got to the destination, and whatever happened beyond the doors of their destination was utterly soul shaking. Mystery cults seemed to rely on the achievement of altered states in order to induce and/or emulate a kind of death and rebirth, which in several cases seems to have outright removed the participant's fear of death after the experience.

Because I am neurodivergent and this hits all of my hyperfixation buttons, I know way too much about agrarian cults of death and rebirth as well as the inducement of altered states, and this would already be prime ground to build headcanons on. But let's talk Eleusis.

Eleusis was a town near Athens where the Eleusinian mysteries took place. These particular mysteries and their initiation were focused around the story of Demeter and Persephone- the horror of Persephone's metaphorical death, the horror of the world beginning to die as Demeter denied the world the fruit of crops in her grief, the relief of a daughter returned coinciding with the relief of famine breaking.

What's interesting about this in the context of Elden Ring is that we have the metaphorical winter, but we don't get any spring. Just the promise of one, eventually, when Miquella returns as a god. In his absence the Haligtree withers, and in his absence his followers languish like abandoned dogs staring at the door. But he never comes home. There is no relief.

Likewise, Trina's entire cult by the time we enter the game seems fixated on "journeying to the underworld"- they are looking for Trina endlessly like Demeter combing the earth for her child, but Trina (like Kore) is nowhere to be found. Not in the land of the living, at least. So we have the preparatory stages of the mysteries- the journey, the mind-altering substances- but without any payoff. Potentially just escalation of both behaviors.

Before Miquella's journey to the Lands of Shadow, I do think Trina was still in communication with her followers, and that she only stopped because she was physically incapable of contacting anyone. So before the Shattering, and particularly before the war in Aeonia, Trina's cult would have had a very much present deity in the same way that Miquella, Malenia, and Marika were all physically available to tend their cults. Not that Malenia wanted hers at all, but nevertheless she had it.

The key difference between Trina and the other Empyreans is that they are being of flesh, and she functions more as a spirit, able to quite literally speak to her followers directly without intercession from priests or bodyguards or the iron wall of classism. She would've been accessible in a way the other Empyreans weren't, which is something particularly of interest since Elden Ring's story kind of metaphorically hinges on the real world events of the rise of Christian monotheism and the subjugation of polytheistic paganism. Part of the reason Christianity became so popular was because anyone could approach God, not just his priests.

Notably, worship of the Erdtree seems more comparable to a kind of imperial cult than a religion fully accessible to the common layman. Your average farmer probably couldn't talk to Marika. Your average farmer probably could talk to a saint though, and Trina might even answer directly.

I am going to have so much fun coming up with weird little rituals for the Church of Cozy In Bed.

[saikolikes]

“Si vis pacem, te ipsum vince”: the meaning behind Erina’s banner

I’m sure most people have noticed it, as it was shown firstly in the trailer and then in the opening: “Si vis pacem, te ipsum vince” seems to be the official motto of Persona 5 Tactica, and is indeed present on Erina’s banner when she uses Flag of Freedom.

The slogan is in latin, it roughly translates as “If you want peace, you must conquer yourself,” and it’s an alteration tailored to the game from the most commonly known “Si vis pacem, para bellum” (If you want peace, prepare for war).

What most don’t know (myself included before digging deeper to make this post), is that even the “original” phrase wasn’t exactly born as such and is itself an adaptation of a wider paragraph from a military treaty — Vegetius’ De Re Militari or “Epitome of military science” (the following quote comes from the beginning of Book 3):

Igitur qui desiderat pacem, praeparet bellum; qui uictoriam cupit, milites inbuat diligenter; qui secundos optat euentus, dimicet arte, non casu.

From what I read, the author does a sort of introduction by citing war masters from the past, including Athens and Sparta, and declares his task in compiling all their teachings in one place. Then, he concludes by saying “Therefore, the one who desires peace shall be ready for war; the one who longs for victory shall diligently instruct his soldiers; the one who’s after success shall fight following the art of war, not chance.”

The concept here is clear: you can’t search for and uphold peace without being skilled in battle and ready to fight for that peace if need be… which is a pretty interesting message in the wider scheme of Tactica.

(Warning for story spoilers from here onwards)

I didn’t reflect on it much as I was playing, especially because the game never gives you any “official” translation of what’s written on Erina’s banner. But as I went back to thinking about it, I realised just how fitting this alteration is. The whole deal with Salmael is peace should be the ultimate goal for mankind, a state of existence where no conflict is necessary—on the contrary, conflict is viewed as a bad thing, because it causes hurt and is ultimately harmful. So it makes perfect sense that “Si vis pacem, para bellum” is something that goes against Salmael’s philosophy.

What bothers me, instead, is that it perfectly fits what Erina represents, as is and without any alteration: she battles Marie like rebels do tyrants because the peace in the Kingdom has been disrupted and she wants it back. Putting metaphors aside, Toshiro is the one that realises that only by opposing his father and his fiancé he can right the wrongs that his family committed, and eventually find peace within himself. “Si vis pacem, para bellum” is actually already tailored on what the game is about, so thinking back about the alteration they made, I can’t quite explain it.

It has to be said, though, that “Si vis pacem, te ipsum vince” is also fitting. Reconciling with one’s Shadow self, tame it and embrace it is what awakening a Persona is all about and what Toshiro does later on in the story, so to have “If you want peace, you must conquer yourself” written on Erina’s banner is also a really nice touch!

I guess my main point here is that both phrases go well with the story’s themes and plot, but I do have to say, removing “para bellum” kind of ends up reinforcing Salmael’s point, which is that war (=conflict) isn’t necessary. It ultimately serves P5’s whole narrative that puts individuals at the center of societal changes without questioning too much what role society at large plays: it is acknowledged society needs reform, but reforming passes through righteous people and removing bad apples rather than dismantling and rebuilding anew a system that is designed to be exploitative. More so that “te ipsum” is a bit like saying “you yourself” so I’d argue that a really great emphasis is put on the person/individual. Also worth noting that “te ipsum” is specifically male-gendered as “ipsum” is accusative cause (direct object) for both male (“ipse) and neutral (“ipsum”) pronouns, but “te” is accusative case for the pronoun “tu” which can only be used referring to a person; this means that if the phrase was to be female-gendered it would be “te ipsam vince”. So it really seems to be tailored to Toshiro.

I think what they did with Tactica’s motto is cool (if anything because it let me put my high school diploma at use again after 7 years lol) and definitely a nice addition that shows this game was made with a decent level of care for being a spinoff… at the same time, I can’t help but find a subtle contradiction in the alteration they made.

[ishparpuaqib]

all those circlejerks abt how culturally diverse europe is compared to america seem to vastly overexaggerate the extent to which linguistic diversity in europe signals cultural diversity... all southeast europeans are the same, for one. we really are! one wog nation under god [spanakopita emoji]. i am fully willing to buy the difference between athens, sofia and belgrade is approximately the same as the one between seattle, san franscisco and los angeles, to the extent such things can be measured (if we're talking, say, belgrade and thessaloniki, the difference might as well be that between san francisco and oakland—it helps thessaloniki turns into a serbian settler colony over the summer). i'm not sure if the european union—an actual political entity, unlike "europe"—is more diverse than the united states. i'm willing to bet it's not any less diverse, but the criteria commonly used to measure cultural diversity in the union seem obviously fraught to me. we've got concepts like "central europe" and "western europe" for a reason!

[jasminewalkerauthor]

Deep dives into folklore: Greek plays

Ancient Greek plays, primarily produced during the 5th century BCE, hold a significant place in the annals of world literature and theatre. These plays, often performed in grand amphitheaters like the Theatre of Dionysus in Athens, served not only as entertainment but also as reflections of societal values, norms, and political ideologies. In this essay, we delve into the societal influence and impact of three iconic Greek plays: "Antigone" by Sophocles, "Oedipus Rex" by Sophocles, and "The Oresteia" trilogy by Aeschylus. Through an analysis of their plots and themes, we uncover their profound implications on ancient Greek society.

"Antigone" by Sophocles:

"Antigone" tells the story of a young woman, Antigone, who defies the orders of King Creon by burying her brother Polynices, who died fighting against Thebes. Creon has declared Polynices a traitor and decreed that his body should remain unburied, but Antigone believes in the divine law and the duty to bury her brother. Despite warnings and pleas from her sister Ismene and Creon's son Haemon, Antigone persists, leading to tragic consequences for herself and those around her.

"Antigone" reflects the tension between individual conscience and the laws of the state. In ancient Greece, the concept of divine law, or the unwritten laws of the gods, often clashed with human-made laws. Sophocles uses Antigone's unwavering commitment to burying her brother to critique the tyrannical nature of absolute power and the importance of moral duty. The play serves as a cautionary tale against unchecked authority and the consequences of hubris, resonating with audiences then and now.

"Oedipus Rex" by Sophocles:

"Oedipus Rex" centers on King Oedipus of Thebes, who unknowingly fulfills a prophecy by killing his father, King Laius, and marrying his mother, Queen Jocasta. As Oedipus investigates the murder of Laius to rid Thebes of a plague, he gradually uncovers the horrifying truth of his own identity and actions. Despite his efforts to evade fate, Oedipus cannot escape his tragic destiny, leading to his downfall and exile from Thebes.

"Oedipus Rex" explores themes of fate, free will, and the consequences of ignorance. In ancient Greece, the belief in fate, or moira, was deeply ingrained in the cultural psyche. Sophocles uses Oedipus's tragic journey to illustrate the limitations of human knowledge and the inevitability of destiny. The play prompts audiences to contemplate the complexities of the human condition and the hubris of challenging divine will. "Oedipus Rex" thus serves as a timeless examination of the interplay between fate and agency, leaving a lasting impact on Greek society and beyond.

"The Oresteia" Trilogy by Aeschylus:

"The Oresteia" trilogy consists of three interconnected plays: "Agamemnon," "The Libation Bearers," and "The Eumenides." The trilogy follows the cursed House of Atreus, plagued by a cycle of violence, betrayal, and vengeance. "Agamemnon" portrays the return of King Agamemnon from the Trojan War and his subsequent murder by his wife Clytemnestra in revenge for sacrificing their daughter Iphigenia. "The Libation Bearers" depicts the avenging actions of Agamemnon's son Orestes, who kills Clytemnestra to avenge his father's death. Finally, "The Eumenides" explores the trial of Orestes by the Furies and his eventual acquittal by Athena, marking the transition from primal vengeance to a system of justice in Athens.

"The Oresteia" trilogy grapples with the themes of justice, retribution, and the evolution of legal systems. Aeschylus uses the tragic saga of the House of Atreus to examine the cyclical nature of violence and the necessity of breaking free from the cycle of vengeance. The trilogy reflects the changing societal values in ancient Greece, particularly the shift from personal vendettas to the establishment of democratic institutions. By advocating for the rule of law and civic order, "The Oresteia" resonated with Athenian audiences and contributed to the cultural and political discourse of the time.

Ancient Greek plays like "Antigone," "Oedipus Rex," and "The Oresteia" trilogy continue to captivate audiences with their timeless themes and profound insights into the human condition. Through their exploration of societal norms, moral dilemmas, and political ideologies, these plays left an indelible mark on ancient Greek society and continue to influence literature, theatre, and philosophy to this day. As enduring classics of world literature, they serve as reminders of the enduring power of storytelling to provoke thought, inspire change, and transcend the boundaries of time and culture.

[babyrdie]

However, as Cambiano puts it, “The (Classical) tragic theatre was full of noble characters who had suddenly been enslaved. The cause was found either in fate or chance or in punishment by the gods.” Indeed, Euripides’ (c. 484—406 BCE) plays The Trojan Women, Andromache, and Hecuba— all set in the Homeric age but produced in Athens’ Classical period— feature a cast of protagonists who are enslaved despite their membership in the Trojan royal family. Over the course of these plays, the Trojan Women frequently lament their enslavement, and are represented in ways meant to inspire pity. However, as Wrenhaven notes, Euripides repeatedly differentiates the enslaved Trojan Women from common slaves by a variety of factors, all of which the Trojan princess Polyxena demonstrates in two key scenes. The first is when she considers whether she would prefer being sacrificed or enslaved by her Greek captors: Why should I go on living? My father was the king of all the Phrygians… Then I was nourished by fair hopes as a bride for kings, and many were the rivals who competed to take me off to their hearth and home as their wife. I— now so unfortunate— was a mistress to the women of Ida. Among those women, both young and old, it was I who attracted all men’s gaze. Mortality apart, I was the equal of the gods. But now I am a slave. First of all, the strangeness of that name makes me long to die. Then I may perhaps have a cruel master who will buy me for silver, me the sister of Hector and of many others, force on me the task of making bread in his home, and impose the daily drudgery of sweeping the house and standing by the loom. And a slave bought from I know not where will defile my bed, which was once thought worthy of princes. No, it cannot be. I consign my body to Hades and take my last look on this daylight with eyes that are free (Hec. 348—370). As Wrenhaven notes, Polyxena finds the thought of enslavement repulsive not because the institution is unjust, but because she herself does not deserve it due to her lineage, nobility, preoccupation with marriage, modesty, former betrothment to fellow nobles, and victimization by fortune. In addition, Polyxena continues her self-description by emphasizing her beauty, and then ends it by flatly stating that the combination of these traits once rendered her an “equal of the gods.” Moreover, after Polyxena chooses to be sacrificed, she exposes her neck and abdomen to her sacrificers, an act which Euripides describes in the following way: “Her lovely breasts and bosom were revealed like a statue’s” (559��561). Although Euripides does not specifically say that the statue he compares Polyxena to depicts a deity, as the novelists often do, this would be consistent with his characterization of her as divine elsewhere. Thus, Euripides has Polyxena link beauty and divinity with fitness for mastership. This, coupled with the emphasis on how much his protagonists despise their enslavement, serves to portray slavery as an undesireable condition for the aristocratic elite. However, this is not a criticism of enslavement in general. By specifying that slavery is undesireable or unjust for enslaved elites, or masters by nature, both Aristotle and Euripides argue in turn that slavery is just and desirable for the common slave, or the slave by nature. As such, their shared concern for the enslaved does not challenge ideologies of slavery broadly, but only specific cases wherein it has been applied to the wrong type of person.

Slaves by Nature, Enslaved by Love: Receptions of Aristotle and Euripides in the Ancient Greek by Adrian Walls, pg 12-14.

This is an interesting concept. Much has been said about Polyxena's sacrifice in terms of tragedy (I don't need to explain why this is a tragic theme, I presume), gender (female sacrifice in Greco-Roman mythological narratives) and parallels (Iphigenia), but I I hadn't seen anyone comment on Polyxena's feeling about not despising the slavery system itself, but rather the fact that she, despite her nobility, is subjected to it. It makes sense, after all, the Trojan royal family did have slaves, as indicated in, for example, fragments of Sophocles’ plays (see Troilus fragments), Euripides' plays (see Alexandros fragments) and in Lycophron's poem Alexandra. And when we think about enslaved characters, usually the ones whose situations are portrayed as tragic are those who were well-known noble/royalt figures. For example, the slaves who constantly save exposed babies aren't depicted as tragic or have any relevance once the baby grows up (I'm talking about stories like Oedipus, Neleus and Pelias, Paris, etc) and of Helen's servants the only one whose servant/enslaved status is relevant is Aethra (notably, a princess and mother of a well-known hero), etc. That Greek mythology, as indeed many myths do, has a habit of focusing on people of high status is obvius, but it's still shocking that even in a topic like slavery the slaves who were common people by birth (i.e. not nobles, royalty, etc) aren't the emphasized. They're usually treated with indifference (e.g. Agelaus, the man who saved Paris), are portrayed negatively because they aren't loyal to the masters who enslaved them (e.g. The Odyssey), or are portrayed positively because they're loyal to their masters and are even willing to go against other slaves because of this loyalty (e.g. The Odyssey). And that's it.

While I don't think the play Hecuba itself is enough of an argument to be sure whether this was the thought of Euripides (it's certainly easier to suggest ideas about characters' thoughts than actual people), it does make sense that it was Polyxena's thought. In a way, it's quite predictable coming from Ancient Greece, but it's still an interesting thing to point out. Polyxena isn't to blame for the Trojan War and is also a victim in this context, but she, like the people of her time (especially royalty), still had thoughts like this.

[monsterkong]

From Conflict to Convergence: The Cultural Relationship Between Rome and Greece 🌟

The relationship between Rome and Greece is a tale of two civilizations that, while distinct, became inextricably linked through centuries of interaction. From early political structures to cultural exchanges, the evolution of this relationship is a fascinating journey through history. Let’s explore how Rome and Greece influenced each other and the lasting impact of their intertwined destinies.

The Birth of Political Parties and Governance 🗺️

When we talk about the origins of political parties, Greece is often recognized as one of the earliest civilizations to experiment with various forms of governance. The Golden Age of Greece, which thrived around the 400s BC, was a time of democratic innovation, particularly in Athens. This period saw the emergence of political factions that debated issues of governance, laying the foundation for modern political systems.

Rome, emerging as a republic in 509 BC, overlapped with the tail end of Greece’s Golden Age. By the time of Julius Caesar, Greece’s political landscape had undergone significant changes. The once-united city-states had splintered into smaller kingdoms following the death of Alexander the Great in 323 BC. This fragmentation made Greece vulnerable, and Rome, ever the opportunist, began to absorb Greek culture and influence, albeit with some initial reluctance.

Cultural Differences and Initial Resistance ⚔️

In the early days of the Roman Republic, Greek culture was often viewed with suspicion and disdain. The Romans, known for their martial discipline and austerity, saw Greek customs as overly indulgent and effeminate. Greek men, with their long hair and beards, and their love for music, theater, and the arts, were a stark contrast to the Roman ideal of the stoic, battle-hardened warrior.

This cultural clash was evident in Roman society’s view of actors, who were placed at the bottom of the social ladder. Unlike in Greece, where actors enjoyed respect, in Rome, associating with actors was seen as a sign of weakness. This disdain for the arts reflected Rome’s early values, where strength and military prowess were paramount.

Yet, despite this initial resistance, Greek culture began to permeate Roman society. As Rome expanded its empire, it encountered Greek customs that, over time, proved too valuable to ignore. By the mid-Republic, the Roman elite had begun to adopt Greek practices, from fashion to language. Speaking Greek became a mark of sophistication, and even the once-ridiculed beards became a symbol of intellectualism among Rome’s upper classes.

The Influence of Greek Culture on Rome 🎨

The shift in Roman attitudes towards Greek culture was gradual but profound. The Romans, always practical, recognized the benefits of incorporating Greek ideas into their own society. This was particularly true in the realms of philosophy, art, and religion, where Greek influence became deeply embedded.

One of the most significant cultural imports from Greece was the concept of ruler worship, a practice the Greeks had adopted from Eastern civilizations like Babylon. Alexander the Great, the Macedonian conqueror, embraced this practice after encountering it in Babylon, where rulers were often deified. His adoption of proskynesis—a ritual in which subjects would prostrate themselves before him as a sign of reverence—was a stark departure from traditional Greek customs but eventually found its way to Rome.

By the time of Emperor Diocletian in 284 AD, proskynesis had become an established practice in the Roman Empire, highlighting the extent of Greek influence on Roman culture. This evolution in religious and cultural practices underscores the deep connection between these two civilizations, despite their initial differences.

The Enduring Legacy of Cultural Exchange 📖

The relationship between Rome and Greece was not a one-sided affair. While Rome absorbed many aspects of Greek culture, it also left a lasting impact on Greece. Roman advancements in architecture, engineering, and law profoundly influenced Greek cities and governance, shaping the course of Western civilization.

Today, the legacies of Rome and Greece are intertwined, with each civilization having left its mark on the other. Their relationship, marked by both conflict and convergence, serves as a powerful reminder of the transformative power of cultural exchange.

In our increasingly interconnected world, the story of Rome and Greece offers valuable insights into the importance of embracing and adapting to different cultures. As we navigate the complexities of global interactions, we can draw inspiration from these ancient civilizations, learning from their experiences as we shape our own future.

[royal-wren]

It's not really a Saturday if I'm not hit with thoughts going a thousand miles in a minute.

I'm thinking about Hermes' intricate and deep connection to life and death, the god that stands between both states and exists in both of them simultaneously. He's my personal god of death and god of the dead to fall more in line with the seats he used to occupy and were effectively given to another and yet he still maintained the most important role/domain in relation to it. The attempt to strip it away never really worked out in the end with him, he's still the one doing all the work at the end of the day.

The god who turns invisible, the one with the sickle (and scythe), growth and loss, the god of the earth -- the wealth and bareness of the land, god of silence beyond silence, and god of noise beyond your imagination or capacity to understand. God of gold, god with the golden and silver tongue, god decked out in gold, god with a heart of precious metals. God among the graves, of the graves, he who mourns and feels great pain for the living and dead that lost a life they greatly valued even though he cannot be hurt or be wounded. Guide in life and death, around all corners and seconds regardless of time or space. The god of caves and mountains, the lowest and highest parts of the world and natural earth we can reach. He of memory, who never forgets and cannot be touched or impacted by the river Lethe, reincarnation eternal. God of the conscious and unconscious, God of light, and the night, the god who bears torches in darkness. The god with eyes everywhere, ever watchful and all-seeing, a god I connect most to eyes and any visuals and concepts/aesthetics to eyes where Athene comes second and Hekate third.

When am I not thinking about him as the lord of the dead and death itself though? Well, it's just especially bad and more at the forefront of my mind right now and I need to write it somewhere. Honestly I never really felt a need to really have Hades or Thanatos come to mind or enter my thoughts in either way, and it was always a feeling and connection I had with him for years now. I felt it so deep in my bones and it always felt right, and reading about it in multiple places with him being the og Pelasgian or Minoan, or at least a very local pre-Hellenic (depending on preference or consensus for whether they are one and the same or not) deity for both, in a similar manner to Enodia being the og Thessilian goddess of paths and crossroads and so on was insanely validating. It was like completing a puzzle, the one last piece I needed to get the full picture.

I will die on this hill no matter what anyone else might try to say, call me crazy or a heretic. I don't care, I live by my own gnosis and sensibilities (or lack their of) and this is one of them.

Oh beloved son of Diwia Agêtôr, older than the soil One with and without guile God with the golden sickle Breather of life and bestower of death Ruler of the Dipsioi, those you join as Deilakrion You know their weight of memories and forgetfulness, of their hunger and thirst as they feast upon the earth Marineus, another name I also call you While you dance among the trees As you find joy lying on the grass Creating gifts without harm from sheep to man A reveler in animals and people alike Dear Araios, with horns divine God of rams and sheep Potnios Theron, relishing in his favorite company Among the infinite animals who flock to him

Trisheros, the hero that sees three ways The one connected to the respect and honoring of the dead Deity holding the many mysteries between truth and lies Akakêsios, without pain, will always take every hand God that sees and feels human emotion, Agônios He will dry every tear and give all calm and serenity

Kharidôtês, God of touch, the nerves, feeling, and pleasure The one all delight in and yearn for The one sung highly by the Kharites and Aphrodite alike Hearts cry merrily with you, never a bitter soul around you

Most ancient god with an appearance and heart of youth As this body struggles, as my knees go weak and my energy drains As love stirs again in me no matter the time of the absence of feeling Set me right while I rest in the palm of your hand With the utmost love, you cup my cheek With a kiss, with a ghosting stroke, I gain vitality

Tbh, writing that was a hell of a lot of fun to mostly just use a lot of his older epithets and names I connect to him that just go with the whole topic of this post.