#homer why would you do this to me

[ditoob]

hyperfixations are fun, aren’t they?

[letsplaythermalnuclearwar]

Homer!Odysseus and Epic!Odysseus would try to kill each other if they ever met

[allieinarden]

Thinking that Filbrick always loved Ford and always hated Stan is like, you didn’t watch the same show I did.

[elodieunderglass]

Hi! I was wondering if you could help me out with a word I've forgotten? I'm trying to remember the name for a concept that (I think) talks about how people better understand or process Things once they have vocabulary to describe it - I've heard it talked about in regards to the colour orange, or coercive control, etc.

long story short i've just read a paper saying ancient Greeks and Romans weren't racist bc they had no word for racism and am trying to form an argument against!

(no worries if this is unanswerable, i'm aware its a bit of a long shot but you struck me as a person who Knows Things)

That’s extremely kind and funny of you. i don’t know much but i am ok at synthesis.

I think you might be thinking of the concepts loosely called the “Sapir-Whorf hypothesis”, which describes something called “linguistic determinism.” This idea has been “disproven”, as it is just too reductionist as a concept - people are clearly perfectly capable of having experiences that are tough to describe with words. There will be plenty of papers showing how this reasoning is applied.

but it is still commonly thrown around and still considered a useful teaching framework. That’s why you’ll see it referenced online as if it is fresh, new, and applicable - people learn about it every year in college. Also, elements of the framework are probably perfectly sound. It definitely seems to be the case that language shapes brains; it just doesn’t seem to be the case that humans who don’t have specific words for them can’t experience orange, or the future.

(Many things in college are taught using teaching frameworks that may not be, technically, true; the framework is intended to give a critical structure for interpreting information. Then, when we later find evidence that disproves the hypothesis, that single piece of information doesn’t destroy our expensive college education; what we paid for is the framework. This is mostly frustrating in the sciences, when fresh crops of undergraduate students crash around on social media, grappling with their first exposure to (complex concept) and how it’s DIFFERENT to what they learned BEFORE and their teachers LIED TO EVERYBODY and they’re going to save the world from POP SCIENCE by telling the TRUTH. You’ll notice that these TOTALLY NEW INFORMATION reveals map along the semester schedule. The thing here is that getting new information, or information being different from what you were previously told, does not cancel out the fact that you are getting what you pay for - an education. Learning new facts that change our relationships to hypotheses isn’t a ✨huge betrayal ✨ , but the expected process of academia. Anyway.)

You have an interesting response here, and can start by looking at the ways that Sapir-Whorf has been disproved. There will be loads of literature on that.

However, it would be interesting to look at the argument as an unpicking of the other side’s rather weird, ritualistic superstitious belief that a behavior doesn’t exist if the creatures doing it can’t describe it. It is not on the ancient Greeks and Romans to categorise and interpret their behavior for a modern educated audience. They do not have the wherewithal to do so. They are also fucking dead. We can name the behaviors we see, and describe their impacts, however the hell we like.

Sure, the ancient Greeks used “cancer” to refer to lumpy veiny tumors. We can infer that they still had blood cancer, because their medical texts describe leukaemia and their corpses have evidence of it - they just didn’t know it was cancer. But we do, so we can call it cancer. Just because Homer said “the wine-dark sea” in a flight of girlish whimsy doesn’t mean he was unable to distinguish grape juice from saltwater, which we know, because we can observe that he was an intelligent wordsmith perfectly capable of talking about wine and oceans in other contexts. We are the people who get to stand at our point of history with our words, and name things like “this person probably died of leukaemia” and “poets say things that aren’t necessarily literal” and “this behaviour was racist” and “that’s gay” and “togas kinda slay tho” despite Ancient Greeks having different concepts of cancer, wittiness, prejudice, homosexuality, and slaying than we do today.

Now just to caveat that people do get muddled about the concept of racism. Our understanding of racism from here - this point of history, with these words, probably from the West - is heavily influenced by how we see racism around us today: white supremacy and the construct of “whiteness,” European colonial expansion, transatlantic chattel slavery, orientalism, evangelism, 20th century racial science, and so on. This is the picture of racism that really dominates our current discourse, so people often mistake it for the definition of racism. (Perhaps in a linguistic-deterministic sort of way after all.) As a result, muddled-up people often say things like “I can’t be racist because I’m not a white American who throws slurs at black American people,” while being an Indian person in the UK who votes for vile anti-immigration practices, or a Polish person with a horrible attitude about the Roma. Many people genuinely hold this very kindergarten idea of racism; if your opponent does as well, they’re probably thinking something like “Ancient Greek and Roman people didn’t have a concept of white supremacy, because whiteness hadn’t been invented yet, so how could they be racist?” And that’s unsound reasoning in a separate sense.

Racism as the practice of prejudice against an ethnicity, particularly one that is a minority, is a power differential that is perfectly observable in ancient cultures. The beliefs and behaviors will be preserved in written plays, recorded slurs, beauty standards, reactions to foreign marriages, and travel writing. The impacts will be documented in political records, trade agreements, the layouts of historical districts of ancient towns.

You don’t need permission to point out behaviours and impacts. You can point them out in any words you like. You can make up entirely new words to bully the ancient romans with. You are the one at this point of history and your words are the ones that get used.

Pretending that “words” are some kind of an intellect-obscuring magical cloud in the face of actual evidence is just a piece of sophistry (derogatory) on the part of your opponent here. It’s meant to be a distraction. You can dismiss this very flimsy shield pretty quickly and get them in the soft meat of them never reading anything about the actual material topic, while they’re still looking up dictionary definitions or whatever.

[thyrinea]

Limbus Company - Nostos Theory

For a long time I’ve been a huge fan of Greek mythology, so it was natural for me to gravitate towards Outis when my friends showed me about the game Limbus Company. But knowing by heart how her source material goes, I was skeptical about how the team would be able to translate Odysseus’ travels and make it fit in an episodic method just like how they managed to do to the other sinners. 

We have so much information going on when we dive into the Odyssey, and since everything is connected through narrative, cutting a part of it for the sake of condensing the plot would make the story feel rushed or incomplete. Honestly, for a time I was scared thinking about what Project moon would do with it.

But then I remembered, Homer’s Odyssey is categorized as a Nostos - In Ancient Greek literature, it is a theme related to giving a high level of heroism for those who managed to return home, especially after dealing with myriads of mortal trials during their travels. And isn’t that exactly what Outis will accomplish once her Canto arrives?

With that in mind, I decided to reread both the Odyssey and all the cantos available until now in-game to see if maybe there was something I missed during my playthrough. You’ll never guess what I’ve found. 

What if I told you that we have been going through Outis Nostos since the very beginning? I believe I have some solid evidence that all cantos up until now are following a path similar to the one written on the Odyssey. This might seem crazy, even I was skeptical of this theory at first, but knowing Project Moon there’s probably a reason why we are getting the lineup we have in Limbus Company. 

So, with that said, hi! My name’s Thy, and welcome to my little insanity corner that I would like to call the Nostos theory. I hope you can read through everything without any problems, and if you have any new information that you would like to add to this, I’d be delighted to chat! 

[katerinaaqu]

Why did Helen choose to torment the Greek Warriors inside the Trojan Horse? (An Odyssey Analysis)

Okay so here is a conundrum that seems to be quite interesting in homeric poems. One of them seems to be Helen's behavior before the sacking of Troy. Menelaus informs us and Telemachus on the events of the night before taking Troy and speaks on the moment where Helen knocks on the Trojan Horse and calls upon the Greek warriors inside imitating the voices of their wives.

Three times you circled the hollow ambush and out of the best of the Danaans you called the names and all the Argives heard the voices of their spouses. Nevertheless I and the son of Tydeus and the godly Odysseus heard you as you called out and while we two were eager to rush out and act to our sudden urge, Odysseus though held us back and restrained us despite our eagerness. Then all the other sons of Achaeans endured apart from Anticlus wanted to respond to your call but Odysseus placed his hand upon his mouth non-stop and strongly and thus saving all the Achaeans until Athena Pallas led you away

(Translation by me)

So basically here we see a very cruel act right? Helen knows the Argives were away from home and their wives way too long, over a decade so why would she play such a cruel game to them and call upon them by using the voices of their wives? It seems unnecessarily cruel at some point especially since she did express the need to go back to her husband already a year prior during the events of Iliad.

So here are a couple of explanations for it.

So for many I would epxect this would be something one might consider inconsistency at writing which leads many people to turn to the "different writer" trope. Quite honestly I can see why and as a hypothesis is really valid or maybe if one takes the hypothesis that Odyssey was witten way after the Iliad that the author himself changed his mind on some stuff or reconsidered his sources etc.

However let's hypothesize for one second that this is a logical continuation of the story and character development (yeah I am not convinced on the different writer theory, fight me! XD) and let's just think for a second the context of the scene based on what we know from the Iliad and the Epic Cycle in general.

We know that Helen lived in Troy a decade (yes for the "20 years theory" I have answered an ask here). She knew these people for a long time. We also know from the Iliad as she stood next to Priam, giving him information about the Greek leaders and kings and we know that she was not judged by him or any other of the Trojans. If anything she was blaming herself quite a lot for it. Even in the funeral of Hector she expresses her love for him (not romantic love guys) and her respect for him. She had no real hate for the Trojans even if she already had a change of heart or Aphrodite's spell on her had weakened. For the reasons why she stayed I also answered another ask right here but apart from that reason we know she wanted to go home so why did she do that to the Greeks? Well in the same scene Menelaus seems to be excusing his wife and he presents this very interesting explanation as to why she did it:

And then you came there: called by some god, no doubt, who wished to extend the glory of the Trojans

(Translation by me)

Menelaus seems to be excusing his wife once more and presents the hypothesis that Helen was inspired by some god or goddess (δαίμων) to go and disturb the Greeks inside the horse. Helen doesn't deny it but doesn;t confirm it either. In fact Telemachus speaks soon after and Helen orders the slaves to prepare stuff. The conversation on this subject seems to end there. So the one explanation could be that indeed Menelaus is correct and that Helen was once more either coersed or blackmailed by a god, potentially Aphrodite again, even if not mentioned, and went to the Greeks and tried to lure them out for the sakes of that god that wished better for Troy. It stands as an explanation as well.

However let's make things more spicy and let's assume that Helen was not influenced by divine intervention by the gods and instead it was her own free will to do what she did. If yes then why? So here's a hypothesis. Before in her narration Helen talks about how she met Odysseus and recognized him in his disguise. She also mentions how Odysseus informs her on the plan to take Troy:

And then he entrusted me everything he had in mind for the Achaeans

(translation by me)

How much he told her is not clear. Did he already have in mind to make the horse so he tells her that? Maybe he warns her on the one day that the Achaeans shall enter the city without speaking on precice details? Either way Helen would know Odysseus was up for some ploy and she knew she had to act fast. Menelaus also mentions how Deiphobos was with her at that time (how Menelaus knew? Well probably Helen told him). So immediately if Helen had a reason to do what she did, we have two reasons;

She wanted to persuade Deiphobos on her loyalty to Troy. Arguably when Odysseus escaped, as Helen said, he killed many Trojans on his way out. Most likely her loyalty must have been questioned at that tensed time thus being accompanied by her new husband all the time. By doing this, ellegedly tormenting the Greeks, was showing to Deiphobos her loyalty to Troy (manipulating him into believing that she was on their side) plus showing him like "See? Nothing here. No danger whatsoever". She probably knew already Odysseus would be inside and he wouldn't fall for her trick and she trusted him and her husband to hold the rest of the Achaeans inside the horse so they wouldn't cry out. So not only did she show to Deiphobos that she was on Trojan side but also manipulated him into believing indeed there was no danger.

Two, this part is the best, in my opinion, she was signaling to the GREEKS inside the horse. She called them all by name by immitating their wives. More or less tells to them that she KNOWS and that she knows EXACTLY who they are and who their families are, and that she could have betrayed them at any moment if she wanted to but she chose not to because she was on their side. Like that she would have more hopes not to be killed by vengeful Greeks during the siege of Troy or her daughter by Paris, Helen, and ensure her and her daughter's safety. Also signaling her change of heart in person to them.

Conclusions:

Like I said before I do not believe Odyssey was written by a different author altogether and Odyssey itself gives us some very good explanations on Helen's behavior. I am actually willing to side with my second hypothesis. Perhaps Menelaus was talking literally when mentioning a god but I tend to believe he was more like metaphorical. In an essence "what's gotten into you?" manner. However I tend to believe that regardless of whether there was or wasn't a godly intervention in Helen's behavior, Helen is extremely intelligent and she knows that after the fuss Odysseus caused (literally a Greek spy in Troy, possibly two if we count Diomedes too) that got in, stole the Palladium of Athena and killed people on their way out might as well throw suspicion on her and she needed to make sure she would continue have the love of Priam, which was literally her shield of protection at that moment. Two she knew that her husband was coming for her and that he was potentially furious and if it wasn't him, some other of the Greeks would be or they would get battle-drunk with their success. She wasn't going to rely only on Odysseus's silver tongue that he persuaded the Greeks on her change of heart but she wanted to make sure that they knew on her talents and power and the way that she could literally give them away at any moment and that she chooses not to because she is Greek like them and because she had a change of heart!

I hope you find this analysis interesting! Let me know in the comments below! I'd love to hear your thoughts! ^_^

[theodysseyofhomer]

if odysseus wanted have a good time sleeping around (or rather, if that's what the poet(s) wanted), he could simply do that. it's not like a male epic hero needed an excuse. what's unusual in the calypso situation is not that odysseus is sleeping with someone other than his wife; it's that the narrator affirms his unwillingness and misery.

and on the one hand, calypso is a misogynistic fantasy/nightmare in that she is a woman who can own a man in sexual slavery, which men in the world of the odyssey and of its composition do to women as a matter of course. on the other hand, she isn't a very common fantasy, is she? how often do you see a man held captive and raped in ancient literature?

or in contemporary literature, for that matter. i've had the 2013 article "the rape of james bond" saved to read for awhile (like... for a few months. not since 2013), which addresses more than the scope of this tumblr.edu post. but the author jumps off from the claim that constant sexual violence in fiction is needed for realism. she questions whether that is true in the way that it is often meant — e.g., whether the prevalence of rape in game of thrones is "realistic" to the middle ages — but she does argue that "sometimes, failing to acknowledge the risk of rape in circumstances where it would be particularly likely to be present can diminish the authenticity of a text."

[I]n so called Genre fiction, we love to strip away protection from our characters to give them an interesting job of coping on their own; parents are dead or absent or abusive, homesteads are burned down, authority figures are blinkered or oppressive; you can trust no one, for no one can hear you scream… And all these things will, in the real world, heighten a person’s vulnerability to all forms of violence, including sexual violence. So yes, realism does sometimes mean dealing with that vulnerability somehow or other. But that heightened vulnerability to sexual violence applies to men too. So where are they, all the raped male characters? People say, it would be unrealistic if she wasn’t raped, but take it for granted that of course he wasn’t. Why is that?

and yet here's the odyssey, one of the oldest extant pieces of literature, and we can't take it for granted, actually, that the pervasive threat of sexual violence in odysseus' world will never touch him.

the homeric epics include many, many enslaved people (of all genders) subject to implied rape (usually of women), and i won't pretend that's treated with the gravity it deserves. but the way calypso and odysseus are often dismissed makes me wonder if we're still not prepared for a specific kind of discomfort, rooted in the messaging we often get from fiction and society — though it does not reflect the reality of the lived experience of many people — that rape is always and only realistic when women go through it, because rape is what women and women uniquely are for.

[greekmythcomix]

How I teach the Iliad in highschool:

I’ve taught the Iliad for over a decade, I’m literally a teacher, and I can even spell ‘Iliad’, and yet my first instinct when reading someone’s opinions about it is not to drop a comment explaining what it is, who ‘wrote’ it, and what that person’s intention truly was.

Agh. <the state of Twitter>

The first thing I do when I am teaching the Iliad is talk about what we know, what we think we know, and what we don’t know about Homer:

We know -

- 0

We think we know -

- the name Homer is a person, possibly male, possibly blind, possibly from Ionia, c.8th/9th C BCE.

- composed the Iliad and Odyssey and Hymns

We don’t know -

- if ‘Homer’ was a real person or a word meaning singer/teller of these stories

- which poem came first

- whether the more historical-sounding events of these stories actually happened, though there is evidence for a similar, much shorter, siege at Troy.

And then I get out a timeline, with suggested dates for the ‘Trojan war’ and Iliad and Odyssey’s estimated composition date and point out the 500ish years between those dates. And then I ask my class to name an event that happened 500 years ago.

They normally can’t or they say ‘Camelot’, because my students are 13-15yo and I’ve sprung this on them. Then I point out the Spanish Armada and Qu. Elizabeth I and Shakespeare were around then. And then I ask how they know about these things, and we talk about historical record.

And how if you don’t have historical record to know the past, you’re relying on shared memory, and how that’s communicated through oral tradition, and how oral tradition can serve a second purpose of entertainment, and how entertainment needs exciting characteristics.

And we list the features of the epic poems of the Iliad and Odyssey: gods, monsters, heroes, massive wars, duels to the death, detailed descriptions of what armour everyone is wearing as they put it on. (Kind of like a Marvel movie in fact.)

And then we look at how long the poems are and think about how they might have been communicated: over several days, when people would have had time to listen, so at a long festival perhaps, when they’re not working. As a diversion.

And then I tell them my old and possibly a bit tortured simile of ‘The Pearl of Myth’:

(Here’s a video of The Pearl of Myth with me talking it through in a calming voice: https://youtu.be/YEqFIibMEyo?sub_confirmation=1

And after all that, I hand a student at the front a secret sentence written on a piece of paper, and ask them to whisper it to the person next to them, and for that person to whisper it to the next, and so on. You’ve all played that game.

And of course the sentence is always rather different at the end than it was at the start, especially if it had Proper nouns in it (which tend to come out mangled). And someone’s often purposely changed it, ‘to be funny’.

And we talk about how this is a very loose metaphor for how stories and memory can change over time, and even historical record if it’s not copied correctly (I used to sidebar them about how and why Boudicca used to be known as ‘Boadicea’ but they just know the former now, because Horrible Histories exists and is awesome)

And after all that, I remind them that what we’re about to read has been translated from Ancient Greek, which was not exactly the language it was first written down in, and now we’re reading it in English.

And that’s how my teenaged students know NOT TO TAKE THE ILIAD AS FACT.

(And then we read the Iliad)

[calliesmemes]

EPIC: THE MUSICAL — ACT ONE

ASSORTED SENTENCE STARTERS featuring lyrics and dialogue pulled from EPIC: THE MUSICAL by Jorge Rivera-Herrans, a new concept album adapting the story of Homer’s Odyssey into a musical.

CHANGE gendered words and in-universe phrases as needed.

SPECIFY muse for multimuses.

❛ I know that I’m ready. ❜

❛ I don’t think that you’re ready. ❜

❛ Know that he will grow from a boy to an avenger. ❜

❛ I could raise him as my own. ❜

❛ Please don’t make me do this. ❜

❛ The blood on your hands is something you can’t lose — all you can choose is whose. ❜

❛ This is the will of the gods. ❜

❛ You’re as old as he was when I left for war. ❜

❛ Will these actions haunt my days? ❜

❛ Every man I’ve slain is the price I pay. ❜

❛ I would trade the world to see my son and wife. ❜

❛ When does a man become a monster? ❜

❛ When does a reason become the blame? ❜

❛ Six hundred men under my command. ❜

❛ The problem’s not the distance; it’s what lies in between. ❜

❛ My kingdom is waiting. ❜

❛ So Captain, what’s the plan? ❜

❛ Look! There, in the distance. I see an island. ❜

❛ I see a light that faintly glows. ❜

❛ Something feels off here. ❜

❛ I say we strike first; we don’t have time to waste. ❜

❛ We should try to find a way no one ends up dead. ❜

❛ You can relax, my friend. ❜

❛ I can tell that you’re getting nervous. ❜

❛ Is this how we are supposed to live? ❜

❛ Here we have a chance for some adjustment. ❜

❛ Give it a try, it's not that hard. ❜

❛ This life is amazing when you greet it with open arms. ❜

❛ Whatever we face, we'll be fine if we're leading from the heart. ❜

❛ Stay back, I'm warning you. ❜

❛ Kindness is brave. ❜

❛ Have you forgotten the lessons I taught you? ❜

❛ I see you changing from how I've designed you. ❜

❛ Have you forgotten your purpose? ❜

❛ My life has one mission. ❜

❛ We'll make a greater tomorrow. ❜

❛ Enlighten me, what's your name? ❜

❛ If you're looking for a mentor, I'll make sure your time's well spent. ❜

❛ If there's a problem, we'll have the answer. ❜

❛ I still intend to make sure you don't fall behind. ❜

❛ Don't forget that you're a warrior of a very special kind. ❜

❛ It’s almost too perfect, too good to be true. ❜

❛ Who are you? ❜

❛ We’re just travelers. We come in peace. ❜

❛ What gives you the right to deal a pain so deep? ❜

❛ Your life now is in my hands. ❜

❛ I’ll take from you like you took from me. ❜

❛ There’s been a misunderstanding. ❜

❛ Maybe you and I could make a deal. ❜

❛ I’m so glad we see eye to eye. ❜

❛ If we're defeated, they're good as dead. ❜

❛ No backup, no chance for support. ❜

❛ Our foe must be thwarted right here and now. ❜

❛ Show me how great is your will to survive. ❜

❛ Stand up and fight for your lives. ❜

❛ Defeat is not allowed. ❜

❛ We must live through this day, so fight! ❜

❛ You’ve hurt me enough. ❜

❛ You won’t live through this day. ❜

❛ We must move quickly, we don't have much time. ❜

❛ But captain, what'll we do with our fallen friends? ❜

❛ We are not to let them die in vain. ❜

❛ Our comrades will not die in vain. ❜

❛ Mercy is a skill more of this world could learn to use. ❜

❛ The blood we shed, it never dries. ❜

❛ I am neither man nor mythical. ❜

❛ You're a warrior meant to lead the rest. ❜

❛ That's just like you, why should I be surprised? Selfish and prideful and vain. ❜

❛ Every time someone dies I'm the one who is left to deal with the strain. ❜

❛ This way, you won't plague my life. ❜

❛ What a waste of effort spent. ❜

❛ At least I know what I'm fighting for. ❜

❛ Since you claim you're so much wiser, why’s your life spent all alone? ❜

❛ This day, you lost it all. ❜

❛ Is it nature or divine or a blessing in disguise? ❜

❛ Our home's in sight. ❜

❛ Brace for a storm, the likes of which we’ve never seen before. ❜

❛ I'll ensure that we prevail. ❜

❛ We're taking too much damage to survive. ❜

❛ At this rate, we won't make it out alive. ❜

❛ Please don't tell me you're about to do what I think you'll do. ❜

❛ You've heard the legends; this proves they're true. ❜

❛ Don't forget how dangerous the gods are. ❜

❛ How much longer til your luck runs out? ❜

❛ I still believe in goodness. ❜

❛ I just don't wanna see another life end. ❜

❛ You're like the brother I could never do without. ❜

❛ Don’t forget how much we’ve already faced. ❜

❛ I need to talk to you in private. ❜

❛ I can't have you planting seeds of doubt. ❜

❛ I ask for your assistance so we at last can go the distance. ❜

❛ Sounds too easy, what's the catch? ❜

❛ Keep your friends close and your enemies closer. ❜

❛ The end always justifies the means. ❜

❛ Keep your friends close and your enemies closer. ❜

❛ Time for me to be the father I never was. ❜

❛ Why are my eyes and my heart and my soul so heavy? ❜

❛ It isn't very often that I get pissed off. ❜

❛ I'm left without a choice. ❜

❛ I’ve gotta make you bleed. ❜

❛ I need to see you drown. ❜

❛ Ruthlessness is mercy upon ourselves. ❜

❛ You are far too nice. ❜

❛ I've got no mercy left to give. ❜

❛ The line between naïveté and hopefulness is almost invisible. ❜

❛ I am your darkest moment. ❜

❛ What have you done? ❜

❛ Any last words? ❜

❛ There's only so much left we can endure. ❜

❛ I'm not a player, I'm a puppeteer. ❜

❛ I can’t sleep now knowing everything we've done. ❜

❛ I must say what a brilliant speech you gave. ❜

❛ I don't know who you are nor why you're here. ❜

❛ One wrong move, then you're done for. ❜

❛ All I hear are screams, every time I dare to close my eyes. ❜

❛ I no longer dream, only nightmares of those who've died. ❜

❛ I am the prophet with the answers you seek. ❜

❛ I see a man who gets to make it home alive, but it's no longer you. ❜

❛ How has everything been turned against us? ❜

❛ How did suffering become so endless? ❜

❛ Do I need to change? ❜

❛ What if I'm the problem that's been hiding all along? ❜

❛ If I became the monster, and threw that guilt away — would that make us stronger? ❜

❛ I must become the monster. ❜

[moltengoldveins]

@clingyduoapologist made a really cool “what if DSMP were a stage play” post and basically the instant I saw it I was struck by the muse but I don’t want to just chain reblog the dang thing or make one huge reblog with all my thoughts so instead here are all my thoughts on this concept

i don’t think it’s a musical. I think the tone of the story doesn’t fit. But if it were, it would have a Lot of scenes of unsung dialogue, and that dialoge? Would be rhythmic poetry. It’s Shakespeare Appreciation Time baby.

i do however think there would be a live score and an orchestra. A lot of the music would need to be recorded but there’s at least be a few musicians.

different characters speak in different poetic styles at different times to communicate character and plot development.

to elaborate on that: Characters switch from loose ABBA or ABAB rhyme schemes and vaguely rhythmic meter when chatting back and forth to strict perfect iambic pentameter for tense scenes or political speeches.

Techno speaks exclusively in unrhyming dactylic hexameter, an extremely common poetic form for Greek and Latin poetry. It’s what the Iliad was written in. This has the interesting effect of making Techno sound, at first glance, unpoetic. His speech doesn’t rhyme, and doesn’t follow a common English rhythm scheme, so it wouldn’t immediately register as structured. However, dactylic hexameter is actually significantly harder to write in English than expected because of our syllable stress patterns. Speaking like that would be, objectively, a sign of extreme intelligence, but could easily be overlooked as coarse uncultured behavior.

Techno’s chorus - composed of audience members, background extras, and people (in safety harnesses) sitting in the theater rafters - speak largely in Greek and Classical Chinese, quoting sections of the Art of War and Homer’s work. The major exceptions to this are ‘Blood for the Blood god,’ ‘no,’ and ‘do it.’ They all wear a hat or some form of headband that has a glowing LED eye, hidden, but activated when they speak. The audience plants are all in dark clothes, and when the lights go down they don medical masks/sunglasses. Anything to obscure their faces.

The Chorus, a group of robed masked people who broke the fourth wall and often entered the audience, was a vital part of early Greek theatre. I am an intolerable nerd, and the thought of sitting in a dark theatre only to hear an low distorted voice beside you start to comment on the play as a whole choir of voices echo around you, then turning to see your seat neighbor is a masked person with a glowing red eye in your forehead? Literally incredible.

Dream is the only character dressed in even remotely modern clothes.

Dream is first seen as someone (again, in modern clothes) sneaking around backstage in a black hoodie: most of the audience probably assumes he’s a stagehand and not meant to be seen. Then, at some point, he moves from behind a set piece and enters the scene as an actual character, revealing his mask.

interestingly, this is really similar to what I believe is a bit of myth about why ninjas are dressed in all black in modern media. They wouldn’t have been irl, they would’ve dressed like civilians. But stagehands in Japanese theatre would dress in all-black, and were often completely visible onstage moving sets - it was common courtesy to ignore them. Then one day some playwright had the brilliant idea of having one of the stagehands enter the story as an assassin, and suddenly every actor in all-black was a threat. For the life of me I can’t remember where I read that but it’s a cool thought :D

Dream canonically can interact with set pieces, lighting, and curtains.

Dream actively directs lighting in scenes he is not in, sitting above the stage kicking his feet.

Dream is often used to hand off props to characters instead of having them pull them from a pocket and pretend they were pulled from their ‘inventory.’ This begins to get confusing when Dream is acknowledged later on as the he person giving, say, TNT to Wilbur, or wither skulls to Techno.

characters address the audience as ‘Chat,’ (English’s first fourth-person pronoun my beloved) almost constantly, especially for comedic purposes- most of their monologues are addressed directly to the audience as well. For Wilbur, it’s a sign of instability when he stops addressing ‘Chat’ and start addressing the sides or back of the stage.

philza enters from the lower audience, right by the stage, probably after pooping up from the orchestra pit and taking a reserved seat halfway through so no one sees the wings.

Tommy has by far the least structured or rhyming dialogue - if it weren’t for how carefully crafted it was it would sound like normal prose.

Tommy speaks to the audience by FAR the most. Wilbur only addresses them when soliloquizing. Techno barely addresses them at all: they address him. Ranboo speaks to the audience only when alone, and it’s usually phrased like he’s writing in his memory journal. Tommy speaks to the audience at first like a loud younger brother. As he gets older, it sounds more and more like a plea for help, a prayer for intervention that will never come. Exile is one long string of desperate begging aimed our way.

Tommy stops speaking to the audience so much after Doomsday. He starts again when Dream is imprisoned. He stops for good when he dies in there, beaten, alone.

Sam and the Warden are meant to be played by different actors, ideally siblings or fraternal twins. They wear identical stage makeup and costumes, but the difference is there. None of the characters acknowledge this.

the Stage would need to be absolutely massive and curve almost halfway around the central audience, largely because it should be able to be split at times into two separate stages to show different things happening at the same time. This could possibly also work if there were two stages, but getting people to easily turn from one stage to the other without loosing sight of what was happening would be rough.

Doomsday taking advantage of the scaffolding in the rafters and using them as the ‘grid’ for the tnt droppers.

actual trained dogs for Doomsday my beloved. Would cost a fortune but could you imagine.

the entire revolution arc ripped off Hamilton, we all know that, I think we can afford to have a stagehand step forward in that frozen moment in time when Tommy and Dream have that duel, grab the arrow, and carry it slowly across the stage right into Tommy’s eye. For morale.

throughout the execution scene Techno keeps slipping out of poetic meter, especially when he sees/is worried about Phil. After the totem (which would be freaking amazing as some sort of stage effect with like lights and red and green streamers or smthn dude-) he stops speaking in poetry. The scene with Quackity is entirely spoken dialogue. Chat is silent. It’s only when he gets back and sees evidence that his house has been tampered with that Chat starts up again (kill, blood, death, hunt, hunt, hunt-) and he starts speaking in rhythm again.

Every canon death, Dream marks a tally on something in the background. Maybe it’s in his arm? Like a personal scorecard. Or maybe it’s on the person themselves, a little set of three hearts he marks through with a dry-erase marker or something.

phil and techno have a lot more eastern design elements and musical influences than the rest of the cast, except for Techno’s war theme which is just choir, bagpipes, and some sort of rhythmic ticking or thumping. Phil’s also got a choir sting but it’s a lot harsher, the ladies are higher and them men lower, and the chords are really dissonant (think murder of crows)

Tommy’s theme has a lot of drums, but its core is actually a piano melody. The inverse of Tommy’s theme is Tubbo’s, but Tubbo’s is usually played on a ukulele. Wilbur is guitar, obv, and Niki’s is on viola.

Quackity is a little saxophone lick. He and Schlatt both have a strong big band/jazz influence.

None of the instruments that play dream’s theme play anywhere else in the music. I’m thinking harp, music box, and some kind of low wind instrument.

[my-name-is-apollo]

Why is Hera so hostile to Leto in a manner that she isn't with the other lovers of Zeus? I can't think of any other woman who was targeted so much by Hera. One could say she didn't want Leto to give birth because her children would be a competition to Hera's children, but why bother her even after she had already given birth? Is it because Leto herself is also a threat to Hera?

Sort of I guess?

I don't think Leto would ever be a threat to Hera's role as the queen of the gods but Hera might see her as a competitor for Zeus' affection, even though I think Zeus would not marry someone else and replace Hera.

The twins are definitely a big reason why Hera begrudged Leto - it is outright stated in the Callimachus Hymn to Delos that the reason Hera especially targeted Leto was because she was told that Apollo would be dearer to Zeus than Ares is. Zeus is very proud of Artemis as well. As he himself puts it, he doesn't mind facing Hera's wrath for children like her.

But the continued hatred even after the birth of the twins (like sending Tityus to rape Leto) could have been for different reasons. This wasn't like one of those affairs Zeus would have with mortal women where he'd leave them behind once the child is conceived. Neither could Hera, despite her many attempts, get rid of Leto like she did with the other lovers. Not only did Leto give Zeus children that he loves dearly, she also stayed on Olympus despite Hera's hatred towards her (which isn't directed to any of Zeus' other divine mistresses, btw). It might have also been because Leto herself is dear to Zeus, if the way she's treated on Olympus is any proof. In the Homeric hymn to Apollo, Leto stands next to Zeus - in the Olympian assembly - to welcome their son. Hera is completely absent from the scene, as if Leto had taken her place even if temporarily. Now you could say this is because Apollo himself is such a powerful and glorious son in a way that no other son of Zeus is, so of course Leto would get such an honor (the hymn itself presents it this way).

But here's another instance - in the Iliad, when Hera goes to seduce Zeus, he is obviously very smitten but before getting into the action, he lists some of his lovers (I believe these were his favorite lovers, as a lot of others are not mentioned):

"for never has such desire for goddess or mortal woman so gripped and overwhelmed my heart, not even when I was seized by love for Ixion’s wife, who gave birth to Peirithous the gods’ rival in wisdom; or for Acrisius’ daughter, slim-ankled Danaë, who bore Perseus, greatest of warriors; or for the far-famed daughter of Phoenix, who gave me Minos and godlike Rhadamanthus; or for Semele mother of Dionysus, who brings men joy; or for Alcmene at Thebes, whose son was lion-hearted Heracles; or for Demeter of the lovely tresses; or for glorious Leto; or even for you yourself, as this love and sweet desire for you grips me now.’ (Book 14, trans. A. T. Murray)

Notice how when talking about most of them, he also mentions the children they bore to him but when Demeter and Leto are mentioned, he doesn't bring up their children at all despite them being some of the most accomplished kids of his. What's more, he takes Leto's name just before Hera's. I mean, this is an interpretation but it looks like not only did Zeus love Leto the most out of all his mistresses - giving her a place second to that of his wife, but also his love for her wasn't necessarily only because she gave him two amazing children.

Nonnus does something similar in the Dionysiaca (but this time Zeus is enamored with Persephone instead of Hera) but more notably, when Typhoeus attacks Olympus and Zeus is discouraged, Nike takes the form of Leto to encourage him and it's pretty telling of what Leto meant to Zeus.

One interesting similarity between Hera and Leto is that they both had a giant try to rape them. Porphyrion tried to violate Hera (Zeus inspired him to do this) and Tityus tried to violate Leto (upon Hera's order). Though both of them were killed, only Tityus got an eternal punishment in Tartarus of having his liver/heart eaten out by vultures so Zeus seems to have taken a greater offense at Tityus trying to assault Leto.

Again, I don't think Zeus would ever take anyone other than Hera as his permanent wife - she is irreplaceable to him. There's an entire myth about Hera leaving him and Zeus winning her back. Their relationship is obviously complex and involves all kinds of emotions including love and hate. But Leto is continually dear to him as well and that's something Hera can't do much about.

[lyculuscaelus]

So, for all who’re interested in Teiresias’s prophecy concerning Odysseus’s death, here’re some interpretations based on the meanings of certain words:

(Odyssey, book 11, line 134–137) … θάνατος δέ τοι ἐξ ἁλὸς αὐτῷ ἀβληχρὸς μάλα τοῖος ἐλεύσεται, ὅς κέ σε πέφνῃ γήραι ὕπο λιπαρῷ ἀρημένον: ἀμφὶ δὲ λαοὶ ὄλβιοι ἔσσονται …

First, let’s talk about “ἐξ ἁλός”.

The most direct meaning of the phrase is the physical motion to come “out of/from the sea”. It’s also logical to assume that the ἐξ ἁλός” here is the same as the one in “ἔνδιος δ᾽ ὁ γέρων ἦλθ᾽ ἐξ ἁλός” (from the Odyssey, book 4, line 450: “at midday that old man came out from the sea”, which is describing how Proteus emerged from the sea) so we’d have “θάνατος δέ τοι ἐξ ἁλὸς αὐτῷ … ἐλεύσεται” translated as “death will come to you out from the sea”. As for how it can be depicted—man, we’re now in AU territory.

Sometimes ἐκ (ἐξ) means “far from” as in distance. In this case the line could be translated as “death will come to you, far from the sea”. Maybe this indicates that Odysseus would die in a land far from Ithaca—or, hear me out: he died where the people he should seek on his oar quest lived (although unlikely during the first time he got there). If they knew nothing of the sea and salt, it’s only natural to suspect that they were themselves far from it. Which could be poetic to think abt—“you have found yourself a place to die, and when you’ve finished your life’s journey, when old age devours your health and your family, you shall head for that land again, to find your peace at last”.

ἅλς (ἁλός being its genitive singular) does not only mean “sea”—as a feminine noun, sure; but as a masculine noun it means “salt”. Meanwhile, there is another meaning of ἐκ (ἐξ), “because of” as in reason. Combining these two, we shall have: “death will come to you because of salt”, which is pretty funny to think about: what if he ate too much salt in a banquet and died of overconsumption? OR it could be…✨hypernatremia✨, since there’s a high chance that all these shipwrecks of his might result in the high concentration of salt in his blood. And this is quite angsty to think abt

Now, for “ἀβληχρός”.

People tend to separate the meaning of this word into two sets: “gentle, easy” (in contrast with a violent death) and then “feeble, weak” (as in description of Aphrodite’s hand). Personally, I’d use “tender” to translate the word since it sorta combined both meanings, being as vague as Homer himself cuz why not.

Specifically, “gentle”? What death could be so gentle, non-violent? Well, diseases, or organ failure, for one (bringing back the hypernatremia), which rather fits his old age as well.

As for “feeble”—I do believe this is a word too strong for this meaning as you’ll see why. “Weak, vulnerable” is fine imo, as long as it’s describing the potential of getting wounded, instead of the condition of being puny. But what’s a “weak death” anyway? I do think it makes more sense if the text goes like “a death will come to you when you’re weak/vulnerable” instead (say, using ἀβληχρῷ…but that doesn’t fit in the hexameter).

Now, here’s an idea I just think of, which is not necessarily the case, but the connection is still interesting. First of all let’s look at the description of Aphrodite’s hand: “ἔνθ᾽ ἐπορεξάμενος μεγαθύμου Τυδέος υἱὸς/ἄκρην οὔτασε χεῖρα μετάλμενος ὀξέϊ δουρὶ/ἀβληχρήν: …”, from the Iliad, book 5, line 337: “thereupon the great-hearted son of Tydeus, reaching forward and leaping upon her, wounded her tender hand on the surface with his sharp spear…”). Now connect this feature of Aphrodite’s hand to the nature of the death Teiresias was prophesying—“the tenderness of your death, just like the palm of love, shall touch you when your heart is old”. But furthermore—could it be that this is how it ends? Could it be that the hand which wrought his death was actually from Aphrodite herself? I’m getting a bit derailed but anyways

The translation of “ὅς κέ σε πέφνῃ/γήραι ὕπο λιπαρῷ ἀρημένον” is quite commonly agreed—“which shall strike you in your old age, ripe and worn out”. Although I’d like to point out that the word “ἀρημένον” (distressed, worn out) here is actually modifying the pronoun σε (you) since they’re both in accusative form, meaning “when you’re worn out”.

The word “ἀμφί” without case here is just an adverb, “around”. The case of λαοί here is interesting, since it’s not followed by any pronoun, which means it doesn’t necessarily refer to “your people”.

What kind of people then? Well, with “ὄλβιος” it often comes with material happiness, and divine blessings on good fortune. “Happy, blest, fortunate, prosperous” might be the closest meaning to the word. Could they be those people in Elysium though…🤔

So there’re three possibilities:

λαοί refers to “your people” indeed: in this case it’s talking about the Ithacans being prosperous and rich for all time.

λαοί refers to “a people”, a random one: this is for those who interpret Odysseus to be “not in Ithaca when he died”, say, when he went “far from the sea”.

It’s just “people will be around you and they’re happy”: he wasn’t alone when he died. Good to know :,)

So…yeah. I suppose this entire prophecy thing is for you to decide which version you like best? There isn’t really a fixed translation of this and you can either 1) ask Odysseus himself; 2) wait till Homer updates his fanfic which is pretty unlikely at this point :(

[hecates-corner]

When I first heard There Are Other Ways, I was a little disappointed by the fact that Circe didn’t successfully seduce Odysseus, considering the huge Greek Mythology nerd I am.

Bear with me.

Then, I played the saga, and that song, for my wonderful mother tonight. About halfway through, I gasped.

The story is accurate to the Homeric version: he confronts her (clandestinely at first), she fights back, he pulls the sword.

But she’s not afraid. Of course she isn’t.

Why would an immortal being, with the rage and power of commanding a million different beasts if her Plan A goes down, be afraid of a measly man with a flimsy toothpick to her throat, just because he ate a flower and said “Be afraid!”?

That’s right! She wouldn’t.

Because Jay didn’t submit to the blatant misogyny of the tale.

Read this article for incredible information, if you please. It changed the way I saw Circe’s story.

If Circe cowered, simply because a man held a sword to her throat, only then would she have seduced him (if we’re going ultra-canon with the storyline, which Jay isn’t), which would have, yet again, thrown off the balance of power.

Circe could give less of a shit about the sword, in the song. She thinks he’s pretty hot, and maybe she’s manipulating him into coming to bed with her so she can trick him, so she offers a tryst or two. Here, if you read the article, she is throwing off the nature of men and women by being the active sexual partner.

He refuses, too enamored with Penelope, and shuns his curiosity in her. You can hear how it pains him, it’s a struggle to say no. But he does. He’s strong, he’s no god, cheating on his wife for the sake of sex appeal. He’s just a man.

He begs. That’s the thing that got me. Not her, him.

“So I beg you, Circe, grant us mercy, and let us puppets leave~”

Then, Circe offers to help him — not because she’s restoring the nature of being submissive — but because she has empathy and compassion for the man. She helps him because he’s proved himself, to be weary, and faithful, and human. She knows the feeling of love.

So, yes. So many layers. Like an onion, worthy of making you cry.

1. Jay is spitting in the face of misogyny and gender roles, and having her help him because she empathizes. Because she’s in power.

2. It’s sort of a jab, if interpreted a certain way, at sexual assault. He says no, and he holds true to it. Even though everything is telling him to give in, to let it happen, he refuses, and remains as sure as he can be.

3. It shows how very human Odysseus is. Athena forgot it, and somehow held him to it. Even the men forget it. But he never does. There is only so much he can do.

This is my favorite saga so far.

[v3suvia]

On Diomedes of Argos.

Typically, when people think about their favorite heroes of the Trojan siege, they think of the likes of Achilles, or Odysseus, or even Agamemnon (or if you’re based, Hector.) And while these are all valid to whatever extent— because let’s be real, no one is choosing favorites based on who has the purest moral standpoint— they’re not exactly remembered for the noblest of reasons.

Achilles spends half of the Iliad inside his tent as a sulky burrito, and the other half slaughtering Trojans and crying over the consequences of his own actions. Odysseus is a chronic liar, and Agamemnon is Agamemnon. But at the end of the day, they’re still remembered (for better or for worse, really.)

Though, on the topic of Homeric heroes, I feel there is one who is often overlooked despite achieving great feats over the course of the epic; Diomedes of Argos. (Note: arguably the most metal of the Achaean heroes at Troy.) So, let’s rant talk about him!

Diomedes was one of the key players in Homer’s Iliad— a recount of the last year of the Trojan siege. Being summoned to fight under oath, Diomedes headed his fleet of 80 ships to Ilium. As well as having a whole chapter dedicated to how kickass he was [read more about that whole thing here], the king of Argos was also a master strategist, and extremely noble— not just in his war efforts.

For example, there are multiple points in the Iliad where he checks the leader of the Trojan expedition, Agamemnon, calling him out on his cowardice or for otherwise being an inadequate leader, [Book 9; ‘Agamemnon, I will begin by taking issue with you over your proposal… do you really believe the Greeks are the cowards and weaklings you say they are? If you for one, have set your heart on getting away, then go.’] [‘Zeus has granted you many things… He gave you the sceptre of power and the honour that comes with it, but he did not give you courage— and courage is the secret of authority.]

And one instance where he truces with the Trojan hero, Glaucus— both of them exchanging armors (on an active battlefield, btw) to honor the fact that their grandfathers had been allies, [Book 6; ‘So let us avoid each other’s spears... And let us exchange our armor so that everyone will know our grandfather’s friendship has made friends of us.’]

He is also one of the only soldiers in the war who avoids committing hubris in the entire epic, which is probably the most telling of all his virtuous traits.

Diomedes also has a proverb named after him! ‘Diomedean Necessity/Diomedean Compulsion', which basically means when someone does something for the greater good (despite the reluctance of the person in question.)

This is taken from the myth of Odysseus and Diomedes taking the wooden statue of Athena— dubbed the Palladium— from Ilium. During this heist, Odysseus tries to stab Diomedes in the back to steal the acclaim of taking the Palladium for himself.

Rather than punishing Odysseus on account of betraying his ally for personal gain, Diomedes ties him up and drags him back to camp instead, because he knew the Greeks couldn’t win the war without Odysseus’ wisdom.

Anyway, why the rant? Sure, I could sit here and convince you that he’s the coolest Greek hero, but what would I be trying to accomplish in doing so? Well, it’s simply because while every other Homeric hero is recognized and represented in modern media, Diomedes isn’t.

He wasn’t even mentioned once in Troy (2004), the film adaptation of the Iliad! Despite him being the focus of multiple chapters in the book, as well as playing a big role in the Achaean army’s over-all victory.

I’m sick of everyone (and by that, I mean most modern media) depicting him as though he was just some dude™ in the Iliad when he was actually (from a mildly biased standpoint) one of the best of the Achaeans at Troy.

TLDR; Diomedes of Argos = Based. He solos ur favs (probably. He almost killed Ajax the greater at Patroclus’ funeral games 💀)Put him in more movies/shows/games so me and the other two Diomedes fans can be happy.

[hyacinthusmemorial]

Writing "My" Ares

I love Rick Riordan and you can read my appreciation of him here, but I have always taken an issue with his portrayal of Greek Gods. I obviously understand they are kids books, and he is doing narrative work, but I have always wondered about his portrayal of Ares.

Ares, who is brash, whiny, cowardly, a loser--and perhaps that comes from his mythological portrayal, especially in the Iliad.

It is interesting to me that the Greeks chose to portray their War God as a loser often times, and I think that speaks to the fact that in conflict--someone must lose, and the war god will always taste it. He is portrayed as losing to Athena, losing to Diomedes, trapped in a jar by giants. All of these are valid ideas and concepts about Ares, but it totally skips out on his hymn.

It's only seventeen lines, but its just so opposite of what his portrayals are in mythology. In mythology, he gets portrayed as a coward, but the hymn calls him "doughty in heart." He is the "defense of Olympus." Not only that he is the "leader of righteous men." The "Sceptered King of Manliness"--what in the world, sceptered king of manliness has to be my outright favorite line of all time.

But, even more than that, Ares is the one that crushes the "deceitful impulses of [the] soul." The deceitful impulses of the soul tells me he is giving people power over themselves, he is that feeling inside right before you throw a punch or say words that can never be unspoken and he draws you back, and he says fight another war. Fight better, in fact, fight righteously, fight with courage.

Further, the hymn asks Ares "Give you me boldness to abide within the harmless laws of peace, avoiding strife and hatred and the violent fiends of death." Ares is master over those things, he can lead men to it, and he can save men from it. And that's how I chose to write Ares. He doesn't necessarily win his battles, and he can be fought against pretty easily, but he fights anyway--I think my favorite line from him in one of the upcoming chapters for my fic is when he is speaking with Nike.

“You cannot fight him,” Nike said despondently. 

“Why not die trying?” Ares said. “I would rather try and lose than be a victorious knave.”

I think he is a more compelling character than "War god bad brrr." He is a path to peace and a path to war, and we get to look at Lord Ares and decide which we choose.

In the story I am writing, he is one only one who looks at the ill going on in Olympus, sees the darkness, and he just will not stand for it. He walks away, turns his gaze from the evil, and he chooses a peaceful path, which is not out of character according to his Homeric Hymn. He abandons the fight for power that is going on, and he chooses to save someone he loves instead of going to war.

all quotes come from -- Hesiod, the Homeric Hymns, and Homerica Hesiod

[peaches-creek]

Jason was looking for something. Not just someone, Homer, author of The Odyssey. He had been on a mythology kick, and wanted to read something more sophisticated. For a 9 year old this kid knows how to read, it was the only thing he could do during the day, waiting for nighttime to act up. So he taught himself to read at a very young age, and kept at it. He’s at a high school reading level. He would immediately come to the library after school, and would stay until closing hour. He had seen a reference somewhere that said, “Of all creatures that breathe and move upon the earths, nothing is bred that is weaker than man.”

His thought’s were then interrupted.

“Excuse me, I just have to get something by your feet really quick.” It’s a girl, about his age, one who doesn’t wait for his answer, just crouches by his feet and rips out a book. Not just any book, Neil Gaiman’s Norse Mythology.

That has him in awe, what kid his age knows how to read anything like that?

“Hey, you know how to read that?” He asks. You scoff at the implication.

“If I didn’t I wouldn’t have grabbed it, now would I?” You sarcastically reply.

That was the start of a very important relationship to Jason. Every day after school you would meet there, and argue about various topics, whichever ones interested you for the week. You guys would stay til close, and he would walk you home. You became important to him very quickly, he liked your gentle hands and kind way about yourself. When talking about characters you would always stick up for the underdog, just like in real life.

He remembers walking home with you one day, through the park when you both stumble upon a scene. Three boys a few years older, and a younger boy. He saw you stop, tears filling your eyes. He turned, about to say something.

“You know he’s a person? What makes you do something like that?” She yelled, crying at the same time.

“Why the fuck are you crying?” One of the boys sneers. Jason’s fist clenches, wanting to bruise this fucking kid’s liver, but decides against it, he is terribly outnumbered.

You say nothing, but walk up to the boy and grab his hand, walking away with him. You hear protests and sneers behind you. You bring him to the swings, asking him where his parents are. He points to two people arguing in the distance. You and Jason say nothing. He looks at you, the tears have stopped but the sniffles haven’t.

“Well then, let’s just play until they are done talking.” You say.

The three of you did exactly that.

You had taught Jason something about humanity that day. He knew he loved you in that moment. For someone so little to know exactly how to show someone else that they are loved.

The walk home had felt bittersweet that day.

“Can you hold my hand?” You say suddenly.

“Why?” He asks.

“Because I’m sad, and I want to hold someone’s hand.” He always forgets that you are a year younger than him, you don’t act it.

“Okay.’ He says, grabbing your hand.

“Why did you do that today?” He asks you.

He didn’t understand kindness like that, no one had shown him kindness before you, but he didn’t understand how you did it so effortlessly. When he first met you, he thought you were acting, lying to him about who you were. But then he realized that you’re just a girl, a girl who loves people.

“Why did I do what?”

“You know.”

“Oh, well, he didn’t deserve that, I don’t have to know him to know that he didn’t deserve that.”

“I see.” Is all he says.

“Kinda like you,” you start, “I don’t know how your life is hard, or why, but you don’t deserve it. I know that.”

“My life isn’t hard.” Is his answer

“Alright, sorry.” You apologize.

“Don’t apologize.”

He didn’t like to think about his life. Drug addict mom, alcoholic father, bills not being payed, going to bed hungry. You were the one good thing to him. Always offering him your spare mittens, sharing your snacks, helping him with his math homework. He didn’t like his life, but he liked you, that was enough.

“Y’know tomorrow is a half day, my mom said she would give me some money to get sandwiches on the way to the library. Which shop should we go to?” You ask.

“Daveny’s, they give you a pickle with your sandwich.”

“I hate pickles, so you can have mine, deal?” You say.

“I’ll share my chips if we have enough to get them.”

“We will, I saved the five dollars my Papa gave me last week.”

“Gotta love him.”

You continue on your way home, only stopping when you reach your steps.

“See you tomorrow Jay.”

“Since when did you call me that?”

“Since now, I think I have earned nickname basis.”

“Sure,” He smiles, “see you tomorrow, don’t forget the five dollars.”

“I wont, I wont.”

You walk up your stairs and into your house. He waits until he sees the lights go on in your room, and begins his trek to go and mess something up, maybe steal some hubcaps.