#from greek word

[ikamigami]

@justarandomsanenobody @x-kiwi-03

Reblog and put in the tags the meaning of your name (just the meaning, not your name)

[childrenofcain-if]

That one scenario where C and MC have a kid has my heart completely 😭 Can we get a follow up for that? How are things going on in the joint household? I'm also very curious to see what C would name their kid 🤭

the hershey’s kisses glinted in the late afternoon sun, crinkled foil catching the golden light that streamed in through the window. aster sat cross-legged on the sofa, a small island of contentment in the messy sprawl of school bags and discarded socks she’d left in her wake.

she was humming under her breath as she unwrapped another piece of chocolate, oblivious to the way her shoes lay in two opposite corners of the room and how her lunchbox sat precariously balanced on the edge of the coffee table.

you leaned against the kitchen counter, sipping coffee and watching her with the detached amusement of a parent who knows they’ll have to clean up the mess but hasn’t yet summoned the energy to do so.

C was in the armchair, one foot propped on the edge of the ottoman, clicking through their macbook with half an eye on aster. it was domesticity in its sweetest form, the kind you don’t think about when you’re young and idealistic, imagining love and family like perfect polaroids on a wall.

“did you give her those?” C asked suddenly, their voice louder than the hum of the dishwasher in the kitchen.

you blinked and set your coffee down, moving closer to inspect the crumpled foil wrappers littered around aster.

“nope,” you said after a beat. “not exactly either of our flavor. that’s… what is that, cherry? we don’t have those in the house.”

C arched a brow, and without missing a beat, turned their full attention to your daughter.

“aster,” they said, voice soft but with a worried edge, “where did you get the chocolates?”

aster’s head snapped up, her chalcedony green eyes lighting up with excitement.

“felix gave them to me!” she said, her grin wide enough to show the little gap where her front tooth had fallen out last week.

C froze, their hand tightening slightly on the edge of their macbook. you, on the other hand, were far more amused.

“felix, huh?” you said, crouching slightly to meet aster’s eye level. “and who’s felix again?”

her grin grew impossibly wider as she happily declared: “my boyfriend!”

you chuckled, leaning against the arm of the sofa. “oh, really? you have a boyfriend now, kleine ster? when did this happen?”

“this morning actually!” aster exclaimed, bouncing a little on the cushions. “he gave me the chocolates at recess and said he liked me, and i said i liked him too, and now we’re boyfriend and girlfriend!”

C’s eye twitched, a muscle jumping just beneath the surface. they sat up straighter, their attention now fully honed on your seven-year-old’s revelation.

“did he now?” they said, their voice tight. “and what else did this... felix boy say?”

aster frowned, confused by the sudden shift in tone. “uh… he said i could have the last red crayon in art class.”

“generous of him,” they muttered darkly, looking distinctly unimpressed.

“C,” you said warningly, but they ignored you, leaning forward with the intense focus of someone about to conduct an interrogation.

“and does this felix… hold your hand?” they asked, their tone too casual to be actually genuine.

“sometimes,” aster admitted, her brows knitting together.

C’s mouth tightened into a thin line. “does he share his lunch with you?”

“yeah, today he gave me his oreos!”

C’s jaw twitched. you pinched the bridge of your nose.

“C,” you said again, a little louder this time. “let it go, darling. they’re just kids.”

but they were too far gone now, leaning forward as though proximity might grant them any sort of control over the situation.

“aster,” they said with all the solemnity of someone at a funeral, “you can’t have a boyfriend. you’re too young. your brain isn’t fully developed. you’ll... you’ll explode! you’ll leave your parents all alone then and it’ll make us very sad.”

aster blinked at them, unwrapping another hershey’s kiss with deliberate slowness.

“i will explode?” she asked, clearly confused by this turn of events.

you rolled your eyes. “no, you wo—”

“yes, you will,” C insisted, cutting you off. “and anyway, you’re not allowed to date anyone until you’re like 30 and paying taxes. it’s a rule.”

“that’s not a rule,” aster said with the stubborn certainty of someone who knew she was right. she really was her parents’ daughter. “and felix is a good boy.”

“‘good,’” C muttered under their breath, glaring at the imaginary felix as though he was lurking in the shadows, waiting to hand their precious little star another chocolate. “i’m going to fight this seven-year-old.”

“C!” you snapped, stepping between them and placing a hand on C’s shoulder. “calm down, my love. it’s harmless.”

C leaned back reluctantly, their gaze flicking between you and aster, who was now watching them like they’d sprouted a second head.

“fine,” they grumbled, crossing their arms over their chest.

***

after dinner, aster sat cross-legged in the middle of the living room, her brow furrowed in concentration as she examined a tiny instruction manual for building LEGOs with the intensity of someone decoding the human genome. her fingers, small but deft, picked up pieces and slotted them into place, her movements sure and deliberate.

C sat beside her, their long legs folded awkwardly beneath them, one hand bracing their bad knee. their fingers worked slower than hers, more hesitantly. the gap between them—her bright enthusiasm, their cautious quiet—was almost laughable. but C didn’t laugh.

they watched her instead.

aster had inherited their stubbornness, the precision of their thoughts, the way they spoke with certainty even when they were wrong, the hard-headed refusal to back down in the face of a challenge. but she’d also inherited your warmth, your easy charisma, the way people seemed to orbit around you like you were some kind of gravitational force.

she was both of you, but neither of you. something wholly her own. and she shone so brilliantly.

“non,” aster said suddenly, shaking her head. she spoke in a tone that was equal parts exasperated and amused, the way one might speak to a child who couldn’t quite grasp a simple concept. “that piece goes here. look.” she leaned over, plucking a flat blue brick from the pile and snapping it into place on the half-constructed spaceship.

“ah,” C said, their lips quirking into a faint smile. “of course, petite étoile. how foolish of me.”

she beamed proudly, her confidence growing with each small victory.

“it’s okay. you’re still learning,” she said magnanimously, patting their arm. honestly, it amused C greatly to see her reflect you back when you both argued everyday like your life depended on it.

C snorted, shaking their head. “merci, mademoiselle.”

“pas de problème,” she replied breezily, her accent and pronunciation impeccably like a parisian native.

C felt a pang of pride so sharp it was almost painful. french had been one of their gifts to her, a piece of their heritage they had handed down like an heirloom. and she had taken to it effortlessly, as if it had always been hers.

she slipped between languages with a grace that left C in awe, her young mind absorbing everything like a sponge.

“wat is dit?” she asked suddenly, holding up a strange piece they hadn’t encountered yet.

“hmm,” you said from where you were sprawled on the couch, your legs stretched out and a book resting on your chest. you barely looked up as you answered her in dutch, explaining what the piece was and where it might fit.

aster nodded thoughtfully, her small fingers turning the piece over as she considered its possibilities. C watched her, their heart swelling with a mixture of love and disbelief.

how could someone so small hold so much brilliance? how could she be so much more than they had ever dared to imagine for themself?

“do you think felix likes LEGOs?” aster asked suddenly, breaking their reverie. she was staring at them now, her eyes—C’s eyes, pale green and perceptive—narrowed in thought.

C felt their jaw tighten at the mention of the boy, the ghost of their earlier irritation flickering to life.

“i have no idea,” they said evenly, focusing on the spaceship.

aster tilted her head, clearly unconvinced by their tone.

“he’s nice,” she said firmly, as though this simple fact should erase all of C’s doubts.

“i’m sure he is,” C said, their tone carefully neutral.

you glanced up from your book, smirking slightly as you watched the exchange. let it go, your eyes seemed to say.

but it wasn’t that simple.

it wasn’t about this felix boy, not really. it was about aster, about the inexorable passage of time, about the impossibility of holding on to something as fragile and fleeting as childhood. she was growing up, and there was nothing C could do to stop it.

C reached for another LEGO brick, their fingers brushing against aster’s. she looked up at them, her eyes bright with curiosity.

“tu vas bien?” she asked, her voice soft and earnest.

the question caught them off guard. for a moment, they didn’t know how to respond. how could they explain the tangled mess of emotions that had been simmering inside them all day? how could they tell her that the thought of her growing up terrified them in a way they couldn’t quite articulate?

“i’m fine, petite étoile,” they said eventually, forcing a smile. “just tired.”

she seemed to accept this, turning her attention back to the spaceship. but C couldn’t help noticing the small furrow in her brow, the way her hands moved more slowly now, as if she was trying to puzzle something out.

they watched her in silence, their heart aching with a strange, bittersweet kind of love.

***

later, when the spaceship was complete and aster had been tucked into bed, C found themself sitting on the edge of your shared bed, their head in their hands.

“okay,” you said, sitting beside them. “do you want to talk about what exactly is bothering you, my love?”

they sighed, looking up at you now.

“it’s just… strange,” they said, their voice low and tired. “she’s growing up so fast. too fast. i feel like i blinked, and suddenly she’s not my little girl anymore.”

you stayed quiet, letting them find the words.

“i still remember holding her in my arms for the first time,” they continued, their voice thick with emotion. “i remember her first steps, her first word, the first time she looked at me and called out for me. and now… now she’s talking about boyfriends and whatnot.”

they let out a bitter laugh, running a hand through their hair. “i didn’t have this. a proper childhood. a father who cared. i don’t know what i’m doing half the time. i just… i look at her, and i love her so much it terrifies me. so much so that i still don’t understand how my father could—”

“hey,” you interrupted gently, placing a hand on their arm. “you’re nothing like him. you’re such a wonderful parent, C. she loves you so much. you can see it every time she looks at you. and yeah, it’s hard watching her grow up. but that’s the deal. you love them, and you let them go, little by little, so they can become who they’re meant to be.”

C nodded slowly, their eyes softening as they looked at you. “i know you’re right.”

you leaned in, pressing a kiss to their temple. “of course i’m right, i always am.”

they rolled their eyes, but a small, tired smile tugged at the corners of their mouth.

“do you think…” they hesitated, the tips of their ears turning adorably red. “do you think we should have another one?”

“another what?” you teased, raising an eyebrow.

they scowled, burying their face in your neck.

“you know what i mean,” they mumbled, their voice muffled. “don’t make me say it out loud.”

you laughed, stroking their hair. “we’ll talk about it in the morning.”

but you already knew the answer.

[katerinaaqu]

Here is a little thing that came from the post of @deadbaguette which you can see here

Have you noticed how little dialog Achilles and Patroclus share in the Iliad? Achilles is a talkative man. He exchanges long and even philosophical dialogs with most people he encounters, with his peers and even his rivals and enemies. But his scenes that involve Patroclus hardly mention any dialog between them and yet their scenes are the most tender and most talkative.

They prepare food, they entertain their guests, they just sit by each other. They hardly speak. Homer was telling us all along; words were not needed between them. Their actions spoke for them; their closeness and their intimacy. Their scenes are peaceful amidst the war: silent amidst the loud noise and speeches. That is why the loss of Patroclus speaks so loud; the piece of peace in the flame of war was lost.

Which is why also Achilles found closeness to Antilochus next. Antilochus who also hardly exchanged a word with him and yet he was there in his lowest, just holding his hands to keep him alive out of fear that Achilles would try and kill himself. Achilles wanted someone to hold his hand. Antilochus did that both literally and metaphorically

They do not need to talk. Their closeness is enough. The absence of both of these silent yet close and intimate relationships so violently by war destroyed Achilles beyond repair. He lost Patroclus by violence and war while he was absent. He went on a lament and on absolute rampage by killing his enemies, performing human sacrifice and hubris against the dead. He lost Antilochus and he lost the last bits of his sanity, slaying Memnon and pushing carelessly the Trojans back uncovered and was killed by Paris. The strongest of Greeks fell from the hand of the arguably weakest Trojan because all that was left of his strength was gone; his strength, his will to live and his sanity. He was already tripping. At that moment he was beyond saving.

I am surprised I don't see more people talk about it

[mer-acle]

“I need to tell Pen about you,” Odysseus said, looking at his patron with puppydog eyes. “I know you training me is a bit of a secret, but I couldn’t keep anything from her, please, you won’t be mad, right?”

Athena raised her eyebrows, sighing. “You’ll be absolutely useless in training until I let you, right?”

A wide grin. “My grandfather didn’t name me ‘a pain in the ass’ for nothing!”

Athena sighed again. “Truly blessed with the gift of prophesy, that man. Fine.”

Your honor I love them

[starscream-is-my-wife]

Ok I understand why sparkling ocs are so popular designing one is addicting

Alt forms/ adult designs under the cut

So when he's littler he can be a Nissan atla, they're pretty cute, but reaching adulthood he'd be a Nissan big thumb, and getting a mod to have a trailer too.

Optimus only has a flat bed so Im doing the old reliable transformer design of putting stuff u don't know how to fit into the back. If he diddnt have a trailer, the bed sides could just be a part of his legs but he modded to have wings so he can get used to the weight distribution easier.

Big thumbs are 12 feet tall, G1 Optimus is a Freightliner making him also 12 feet, and G1 Ratchet is a Nissan cherry vanette, which are almost 6 feet (5"10 to be exact)

I thought that the big thumb would be a bit smaller then Optimus but damn, Ratchet is gonna have to deal with 2 giant trucks.

[luthienne]

George Seferis, from Collected Poems; "Last Stop" (tr. Edmund Keeley and Philip Sherrard)

[rapha-reads]

No but I gotta talk about Medusa for a minute actually.

It's been. A very long time since I read the PJO books so I don't exactly remember how Uncle Rick presents Medusa in the book. But the way the show introduces her myth? Fascinating. For me as a Greek mythology enthusiast, that is.

The show makes Medusa a victim of Athena. Of course, the show is mainly for kids, so they can't exactly say that, hey, kids, Medusa was Athena's priestess and she was raped by Poseidon, YEP, or protagonist's father, IN Athena's temple, nah, that's neither kid-friendly nor does it endears us to Poseidon. Not that Poseidon is very dear to us viewers/readers at this point, our narrator/protagonist can't stand his own dad.

But still what fascinates me is that even though they twisted the myth to ft the narrative they still managed to evoke Athena's curse as being actually a gift, and Medusa not feeling wretched over her condition but blessed.

Which is not a modern reading of the myth, actually. Saying that Athena couldn't punish Poseidon for his transgression and could only punish Medusa, but did so in a way that would give Medusa weapons to defend herself against whoever and whatever would try to harm her again, is a narrative that exists since Antiquity.

My point is that the re-framing of Medusa's myth, departing from the traditional, non-kid-friendly version while still incorporating both classic and modern elements, is a good frame of reference for the series (book and show)' entire approach to mythology. And I guess I'm saying that mostly for the non-book readers who are discovering this world, many of whom might be Greek mythology fans and might have gone "wait, why is Hades AGAIN presented as the bad guy when he's the chillest, most normal, most stable god in this entire pantheon", because that's a conversation the book fandom has been having (over and over again) for more than a decade.

Anyway, yeah. As a long time book fan and a show appreciative, here's my advice to anyone who knows WAY too much about Greek myths and still want to enjoy the ride without going every five minutes "wait, that's not correct": reframe. Contemporary rewritings, modern audiences and Fantasy genre.

[danandfuckingjonlmao]

can a brave soul with a m&g ticket PLEASE tell dan that the word monochrome means one colour and not achromatic colours (white, black, and grey). please. i’m begging you.

[otaku553]

Outfit breakdowns for all of my Kirby hero of yore ocs! I don’t know if I can count Galacta (or Papi) as ocs but my interpretations are rather far from the source material at this point ^^;

First is Galacta, the Hero of Heart, who is the hero among heroes of the four of them. The most honored, the most gallant, the light and hope of Halcandra.

Second is Nebula, the Hero of Dream, who is a laid-back, mostly relaxed figure who is calm and kind. Though they can often be found napping in various locations around town, in battle, they are a fierce warrior, and are very protective of Galacta.

Third is Papilio, the Hero of Soul, also known to many as Lio, or by their personal name, Anax. They are the smallest and the youngest of the heroes, a prodigy with the blade, and known as the fastest and most light-footed of the heroes.

And finally, the Hero of Dark, whose true name is only known to their friends. They are the quietest of the heroes, and wield a spear, though most of their powers are long range magic.

[gingermintpepper]

Day 4: Aristaeus

Interpretation notes and trivia below the cut!!

All rise for the entrance of my president !! Honestly, of all the figures and characters that were up for debate when I first started thinking about this story and who I wanted leading the charge Aristaeus was not one of them. Originally, I'd always known that Asclepius and Orpheus would be worked in somehow - they've always been favourites of mine in terms of children of Apollo (even if Orpheus as the child of Apollo and Calliope is less popular classically) and I expected my pick for the third child of Apollo to be involved to be similarly mortal like Iamus or Tenes but the more I looked into Aristaeus the more I fell in love with him! Ultimately, he's meant to be both a foil and a reflection of his father - a boy who grows up thinking his father's footsteps would always be warm only to realise that following in them would lead to death and destruction. While his status as a rustic and hunting god is still important here, Aristaeus' interpretation is much more focused on his connection to the Etesian wind and his quelling of the dog star Sirius which is why his hair in particular is so long and spiralling. All in all, more than any other figure I've chosen to interpret and represent in my work Aristaeus is the god I hope more people get interested in and research! I think there are a lot of important stories in his various myths and travels and I definitely want more people to discover and fall in love with them as I have!

Some fun trivia:

Apollo's firstborn son. Because he was born mortal on account of his very mortal mother, Apollo immediately took him to Olympus to eat ambrosia to begin his transition into divinity. Apollo would continue to feed Aristaeus small amounts of ambrosia and nectar for the next ten years until the child fully shed his mortal skin and was reborn as a god.

Due to the nature of making mortals deathless (namely the fun part of the process where they are completely remade and lose their mortal memories) Aristaeus spent most of his early life with his mother and siblings where they all pitched in to reteach him his family, his hobbies, his favourite things and ultimately how to live and love. Aristaeus was very attached to his maternal family because of this and his early acts of ingenuity were mostly born from his wish to make things easier for his family.

Aristaeus is the only one of his children Apollo hand raised full time. In those days, Aristaeus adored his father and believed him completely upright and blameless, the true face of a benevolent deity and the kind of man he aimed to be when he was full grown.

They would later have many bitter arguments and conflicts, the first and perhaps most impactful of all being their disagreement over Actaeon, Aristaeus' firstborn son. He wanted Apollo to teach him stating that it was a normal thing for a grandfather to do but Apollo vehemently refused to have any part of Actaeon's rearing, stating that he was not his child and that it was highly inappropriate for him to educate another god's son. When Actaeon later dies, Aristaeus blames a not insignificant part of that on Apollo - something that only worsens when he learns that it was Artemis who cursed the boy and that Apollo was always aware Actaeon would die young.

Spends most of his time travelling from place to place. Doesn't really like Olympus and prefers to spend his time minding animals or tending to fields. Is on wonderful terms with Demeter and Persephone and often makes decadent exchanges of olive oil and preserved meat for exotic flowers and fruit for his bees.

Big fan of wind and percussive instruments. Never liked the kithara because of how finicky it is and far prefers the hand drums and reed flutes of his mother's country. Exceptional dancer.

Will sell prized cattle for high quality and highly unique jewellry. Doesn't much care for gemstones but is an absolute gold fiend and has a massive collection of bracelets, anklets, nose and lip adornments and rings. Has never been north enough to hit India but got a ton of rare and different adornments from his Phoenician in-laws when he was married to Autonoë.

Hates dogs but doesn't mind wolves. Not a big horse fan either

Unlike other winds, he cannot transform into various animal forms. He's close enough to the Anemoi that he keeps up with the gossip but he's only really friends with Notos. Gets along poorly with Zephyrus whose preference for pretty youths has often led to them getting into physical altercations when they were younger. Aristaeus still holds a bit of a grudge about it.

Has a big stupid crush on Dionysus which is embarrassing because Dionysus also put him out of a job. Due to Dionysus' relative youth, he feels a bit conflicted about such feelings - mostly because Dionysus is on extremely good terms with Apollo and Aristaeus doesn't want him to get burned.

Despite kinda despising his father, Aristaeus is a pretty decent eldest brother and regularly keeps in contact with a lot of his siblings. He often delivers mead, flavoured honey and olive oil and uses it as an excuse to chat and catch up. Currently in a bit of a tiff with Asclepius because he's worried about him and his family.

Favourite colour is the rich gold of purified honey, favourite food is lokma and his favourite time of year is winter.

[depressed-linguist]

‘three fair-cheeked Kharites…from whose eyes as they glanced flowed love that unnerves the limbs’

- hesiod, theogony

The Three Graces - detail from La Primavera, Sandro Botticelli (Uffizi Gallery, Firenze)

[curioscurio]

my favorite part of the Voynich Manuscript is this little nymph bathing in a pitcher plant and making a rainbow with the water spray

[dootznbootz]

I don't think Greek Mythology retellings/adaptions/inspired/etc. are necessarily "evil"...but I DO think people REALLY need to understand that there's a huge difference between the actual mythology and certain media.

I feel like people have to basically do a "Fandom ___" to say the different versions. Like "PJO ___", "Hades game ___", "TSOA ___". For it to be understood that these depictions are DIFFERENT. I'm saying this as someone who grew up reading PJO and still has a soft spot for it. But as someone who really loves Greek Mythology as well, I sometimes get really SAD.

I'm going to use the comparison of Howl's Moving Castle with it's Book Vs. Movie. I enjoy both!!! But they are honestly very different. In the movie there is no "sister swap", Markle isn't a young teenager, Sophie doesn't throw weed killer at Howl, and many more moments. But I enjoy both because even though there are changes they still keep components that are ingrained into the characters!

In some Greek Myth retellings/adaptations/stories/etc., characters are...SO different from the source material. That's fine...Choose what you want with your story... But folks should know that the modern adaptations are NOT the source material!!!

It bothers me that a lot of these wonderful myths and stories are twisted up and seen so differently because of a modern version of them. You can have that character be "awful" or a certain way in your story. But I almost feel that as fans, it's not good to generalize them or see it as "This is the truth". People are hating the mythological figure when it's only in that interpretation they are like that.

In PJO, Ares is "Zeus' favorite", isn't a good dad, a misogynist, etc. The actual myths? One of his Epithets is LITERALLY "Feasted by Women", in the Iliad everybody basically bullies him with Zeus literally saying he hates him. He cries when he learns one of his sons is killed in the war. He literally kills someone about to rape his daughter. Ares isn't perfect but it makes me sad with how he's viewed and talked about when it's only in PJO he's like that. Same with Dionysus. Read the Bacchae, you'll love it.

In Lore Olympus, Apollo rapes Persephone (noticing the fact that modern takes on the myths add rapes where there never were hmmmmm) when he never did in any of the myths.

In TSOA, Thetis is cruel when in the Iliad, she is such a loving mother to Achilles. She grieved alongside her son over Patroclus. Also with Agamemnon. In Ipheginia at Aulis, Agamemnon is a MESS. He adored his children.

In Circe, Odysseus is viewed as a selfish man who ONLY hurts others and doesn't care about his family when that is LITERALLY his one consistent character trait. HE is actually the one who is the victim of rape. Circe was never raped.

Medusa is only a victim in Ovid's, a Roman man, works. Not in GREEK mythology. She was just a cool monster. Leave Perseus alone. Poseidon and Medusa actually had a consensual relationship in Greek Mythology!

These adaptations/retellings/inspired by/etc. whatever anybody wants to call them, are not the real myths! They may be similar in some ways but to just generalize them or hate the deity/mythological figure because of something they did in the new media feels fucked up!

You can enjoy these new stories. There's nothing wrong with that!!! But know they're not the real myths. Maybe even label it as "I hate ____'s version of ____". As that makes it clear what version you're talking about.

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[thoodleoo]

bitches in ancient greece would do anything to get a date huh

[graedari]

If no one else is going to give Corvo a crow- I will