#odenathus

[rnsulentic]

Foot archers for Palmyra. Odenathus has to look out for Shapur. Mix of figures: minifigs, possibly Asgard, and old Table Top Games. The usual contrast paints.

[dayoldpepsi]

odenathus is that you?

Don't care + you were killed in a hunting accident 3 summers ago and never received proper burial + you're forever a deer now...

[thelastromanemperor117]

Underrated Romans of History: Odenathus 220-267

Septimius Udhayna, Latinised as Odenathus, in the year 220AD in the city of Palmyra. Palmyra was one of the cities that made up the Syria Phoenice province of the Roman Empire. Odenathus was born shortly before the period known as the ‘Crisis of the Third Century‘. He was born to a noble family but not one of Royal blood as the City was ruled by a council and not a Royal family.

The rise of the aggressive Sassanid Empire and the fall of the Parthian Empire resulted in increased Persian raids. These raids would affect Palmyrene income as the cities primary source of income was through trade caravans. This as well as the weakening of the Roman Empire was, possibly, one of the main reasons behind the decision by the Palmyra Council to elect a Ras (Lord) to lead a strengthened army in the field.

The earliest known mention of Odenathus as Ras is in an inscription from 251AD. There is also mention of Odenathus as a Roman Senator, but when his ascension to the Senatorial Class happened is unknown. It is possible that this occurred after his appointment to the rank of Ras, but it is also possible that both events occurred at the same time. Odenathus didn’t waste any time and bolstered the Palmyrene army by recruiting Desert Nomads and increasing the number of armoured heavy cavalry in the Army.

The Sassanids would cross the Euphrates in 252AD under the leadership of King of Kings Shapur the First. The Persians widely raided Roman Lands and destroyed many Palmyrene trade colonies on the Euphrates. It is said that Odenathus attempted to negotiate with Shapur, but it is said that these attempts were rejected and gifts Odenathus had tried to give to the Persians were thrown in the river.

By 258AD, at the latest, Odenathus was appointed as Governor of Syria Phoenice; this would make him the highest authority in the province and the commander of all Roman forces in the province. Starting not long after his appointment as Governor, Odenathus would begin to strengthen his position and political standing. In 260AD by the time of the battle of Edessa, Odenathus held the power, rank and standing to pacify the chaos that would grip the Roman East.

The battle of Edessa would prove to be a disastrous for the Roman Empire as the Emperor Valerian and his entire army of between 60,000 and 70,000 men were defeated and Valerian was captured. This defeat would be catastrophic for the Empire.

Odenathus was declared King of Palmyra almost as soon as news reached the city. Odenathus would have been faced with a number of choices at this point; he could have chosen to declare Palmyrene independence and ruled as King, he could have sided with the Sassanids and he could have thrown his lot in with the Rebellion of Fulvius Macrianus and his sons. But instead Odenathus chose to remain loyal to Valerians son and successor Gallienus. When he declared his loyalty to the current Emperor is unknown, but it is widely believed to be after the defeat of Macrianus in the Balkans.

In the summer of 260AD, Odenathus marched North to attack the Sassanid invaders. He fell upon them just west of the Euphrates and defeated the Persian forces - expelling the King of Kings Shapur from Syria. After news of the defeat of Fulvius Macrianus reached Odenathus, the King marched on Emessa where the imperial pretenders two remaining sons were. The locals killed Quietus and Balista was captured and executed by Odenathus

The defeat of the usurpers left Odenathus as by far the most powerful man in the East and while he remained loyal to the Emperor, true power in the region belonged with Palmyra and Odenathus. There is a source which claims that Odenathus was proclaimed Augustus (co-emperor) following his defeat of the Persians, but this source is widely discredited.

In the spring of 262AD, Odenathus invaded Sassanid Lands and crossed the Euphrates. He marched south towards the Sassanid capital at Ctesiphon, he liberated the Roman province of Mesopotamia on his way and defeated many Persian Garrisons and by late 262AD, he had besieged the Sassanid Capital.

Though he would be unsuccessful in his siege (The logistics of fighting in enemy territory was too much to over come) and he would return to Roman Lands laded with the spoils of war (Gold and Prisoners). In 263AD he would send the prisoners to Rome and be awarded a triumph by the Emperor.

Also in 263AD after returning to Palmyra, Odenathus would declare himself King of Kings of the East and crown his son as Co-King. This declaration was a direct insult upon Shapur, but not to Gallienus. While Odenathus had taken this new title, he did not show any kind of disloyalty to the Emperor and submitted to the Emperors authority.

In 266AD, Odenathus would again invade Persia and reach the Sassanid Capital, but he would again be forced to abandon his siege and march north to deal with invaders striking at Anatolia (Modern Turkey). These raiders were most likely either Scythian or Gothic in origin, but by the time Odenathus arrived in Anatolia, they would have already left.

In 267AD possibly at the conclusion or at the tail end of the Anatolian campaign, Odenathus and his son Hairan would be assassinated. Who struck at the King and who planned the assassination is something lost to history, but there are many theories from Gallienus to Shapur being involved and to his Second Wife Zenobia being the one responsible, but it is likely we will never know the truth about the death of Odenathus.

Odenathus was succeeded as King of Kings of the East and King of Palmyra by his ten-year old son Vaballathus, though true power would lie with Queen Regent Zenobia. Zenobia would later proclaim Palmyra independent of Rome in one of the key moments of the Third Century Crisis.

Overall, Odenathus proved a loyal man to his Emperor against what was normality for powerful Roman Generals of the time and he wold successfully limit Sassanid Power in the East as well as reestablishing Roman control over the area. The rise in power of Palmyra and the eventual establishment of Zenobias’ Palmyrene Kingdom was only possible due to the hard work and skill of Odenathus.

[fuckyeaharchaeology]

The Pitfalls of “Charismatic Archaeology” - Part One: What’s in a Name?

All right, as promised, we’re going to take a look at the phenomenon of “charismatic archaeology” (Munawar 2017, 41) as it applies to the so-called Arch of Triumph in Palmyra, which was destroyed by Islamic State militants in 2015 and whose modern cultural context has seemingly superseded its archaeological context in the years since. Because there’s a lot to go over here, I’m going to have to split this up into a few parts. But the main takeaway of this series is that this arch—or tripylon—is still fascinating, even if it isn’t necessarily as ‘Roman’ as we are led to believe and that branding it as such does a disservice to the local Palmyrene builders responsible for its innovative construction in the late second to early third centuries AD (but more on that in later installments).

We already encounter an issue with the classification of this monument as a triumphal arch. Once it was torn down by the Islamic State in October 2015, the tripylon was introduced to the public on a global scale. In their reporting, numerous international news outlets used this term to describe the structure. However, this inaccurate classification pre-dates the arch’s destruction: my thesis advisor told me that when she last visited Palmyra in 2005, the archaeological park guided tourists to the monument and the adjacent section of the city’s Great Colonnade with a sign that read “Triumph Arc (sic) and the Long Street.” That said, the vast majority of the archaeological literature that was written prior to 2015 more accurately designates it as simply a monumental arch or, more commonly in the German-speaking world, a tripylon.

Other common misattributions the monumental arch is given are those of “Hadrian’s Arch/Gate” and the “Arch of Septimius Severus,” though the former is more often a fixture in the German-speaking world (where it’s called the Hadrian Bogen or Hadrianstor). In AD 129/130, Hadrian did himself travel to Palmyra, and during his stay, he granted the city his name (Hadriana Palmyra; Browning 1979, 27). And while it is true that there was an uptick in monumental civic construction and ‘Romanization’ in the city afterwards, the tripylon had not begun to be built until roughly the late Antonine period, around AD 175/180 (Barański 1995, Fig. 1; Tabaczek 2001, 128), so it could not have feasibly been built for Hadrian (in contrast to Hadrian’s Arch in Gerasa, Jordan). Similarly, this start date places its chronology too early to have been built for Septimius Severus, either, as his reign lasted from AD 193–211. That said, a number of scholars do date its construction to his reign or to post-212 more broadly (e.g. Browning 1979, 88; Burns 2017, 245; or Will 1983, 74). However, in doing so, they fail to take into consideration that a structure as large and complicated as the tripylon (more on that later) would have taken years and years to complete, and it was most likely finished sometime in the late Severan period (Tabaczek 2001, 38. 130). Therefore, any commemorative/honorific purpose for this arch is called into question (though statues to Odenathus and his family were placed in niches in the central passageway well after its initial construction in the mid-late 3rd century AD; Burns 2017, 245). 

The monument’s designation as a ‘triumphal’ arch or the Arch of Hadrian/Septimius Severus immediately brings it firmly into the realm of ‘Roman’ archaeology, but naming it as such ignores the tripylon’s indigenous Palmyrene context, which in itself tells a much richer story than its apparent association with the Roman Empire. It should be stressed that the term ‘triumphal arch’ was seldom used in antiquity (Cassibry 2018, 246) and that scholars from over a century ago had even expressed the need to use caution when defining these monuments as such (Densmore Curtis 1908, 27). Not only does this term signal the ‘Romanness’ of these structures, but it tends to evoke a sense of particular importance or gravitas to the modern layperson on account of how modern Western powers have adapted the architectural form and used it to express their own “cultural statement,” whether at home or abroad in colonized territories (e.g. the Arc de Triomphe in Paris or the Gateway of India in Mumbai; Ball 2016, 286).

In reality, the eastern Roman territories of Syria and Provincia Arabia have no known ‘true’ triumphal arches, such as those that we’d associate with the city of Rome itself (e.g. the Arch of Septimius Severus or the Arch of Constantine; Ball 2016, 286), but there are three known commemorative/honorific arches to the emperors Trajan (Dura Europos) and Hadrian (Jerusalem and Gerasa; Segal 1997, 131). The point of such monuments was to serve as imperial propaganda “in Wort und Bild” (“in word and image”; Kader 1996, 184). As we will see in later parts of this series, this was not necessarily the case where Palmyra’s tripylon is concerned.

Speaking of cultural statements and propaganda, it is also possible that the concept of triumph was used to the advantage of the Institute for Digital Archaeology of Oxford and Harvard Universities when it decided to use digital methodologies to create a physical reconstruction of the tripylon in 2016 (and believe me, there will be an entire separate post about everything that was wrong with this replica). The IDA’s branding of the tripylon as such in the wake of the Islamic State’s retreat from Palmyra may have delivered a different kind of political message in the sense that the arch and its subsequent reconstruction could represent a triumph of the Syrian people and their cultural heritage over the militants and their wanton destruction of it—perhaps as a 21st-century parallel to Zenobia’s liberation of Palmyra from the Roman Empire (Munawar 2019, 152). Whatever the reason, the emphasis on the monument’s charismatic ‘triumphal’ nature obfuscates its ancient urbanistic context, which will be discussed more in detail in the next part of this series.

Thanks for reading!

Works Cited:

W. Ball, Rome in the East: The Transformation of an Empire, 2nd Edition (London 2016).

M. Barański, The Great Colonnade of Palmyra Reconsidered, Aram Periodical 7(1), 1995, 37–46.

R. Burns, Origins of the Colonnaded Streets in the Cities of the Roman East (Oxford 2017).

I. Browning, Palmyra (Park Ridge 1979).

K. Cassibry, Reception of the Roman Arch Monument, AJA 122 (2), 2018, 245–275.

C. Densmore Curtis, Roman Monumental Arches (New York 1908).

I. Kader, Propylon und Bogentor. Untersuchungen zum Tetrapylon von Latakia und anderen frühkaiserzeitlichen Bogenmonumenten im Nahen Osten (Mainz am Rhein 1996).

N. Munawar, Reconstructing Cultural Heritage in Conflict Zones: Should Palmyra be Rebuilt?, EX NOVO Journal of Archaeology 2, 2017, 33–48.

N. Munawar, Competing Heritage: Curating the Post-Conflict Heritage of Roman Syria, Bulletin - Institute of Classical Studies 62(1), 2019, 142–165.

A. Segal, From Function to Monument: Urban Landscapes of Roman Palestine, Syria and Provincia Arabia (Oxford 1997).

M. Tabaczek, Zwischen Stoa und Suq. Die Säulenstraßen im Vorderen Orient in römischer Zeit unter besonderer Berücksichtigung von Palmyra (Diss. University of Cologne 2001).

E. Will, Le développement urbain de Palmyre, Syria 60, 1983, 69–81.

Image Source: x (the first is from a PowerPoint I presentation I gave in January)

[aic-american]

Zenobia, Queen of Palmyra, Harriet Hosmer, 1852, Art Institute of Chicago: American Art

Harriet Hosmer was the leader of a small group of women who studied sculpture in Rome in the 1850s. Her work frequently addresses the theme of strong, independent women who are ultimately punished for seeking a level of power and ambition thought to be inappropriate to their sex. This portrait depicts Zenobia, the queen of Palmyra, who ruled the Syrian city after her husband, Odenathus, died in A.D. 267. Zenobia conquered Egypt and much of Asia Minor before her defeat by the Roman emperor Aurelian in A.D. 272. Portraying the queen at the moment of her capture, Hosmer emphasized Zenobia’s dignity, remarking, “I have tried to make her too proud to exhibit passion or emotion of any kind; not subdued, though a prisoner; but calm, grand, and strong within herself.” Restricted gift of the Antiquarian Society Size: 86.4 × 57.2 × 31.8 cm (34 × 22 1/2 × 12 1/2 in.) Medium: Marble

https://www.artic.edu/artworks/125652/

[planetofsillyhats]

A Guide to 40k Naming Conventions

General Notes on Angels, Elves, and Aliens

Our modern, western sense of what an otherworldly entity’s name should sound like--and, thus, the typical 40k fluff writer’s idea of same--draws primarily from a handful of major sources.

First is the body of supernatural fiction written in the 16th and 17th centuries by Christian mystics. The most famous of these texts is the Lesser Key of Solomon, which contains the infamous Ars Goetia--a list of demonic names that has been so ruthlessly plundered by novels, movies, comics, video games, and tabletop RPGs that it’s almost impossible to find a name on it that you don’t already recognize from somewhere else. All of these texts are, themselves, informed by the Bible--specifically, by the Greek and Hebrew transliterations of the many, many local deities that competed with Yahweh in the character’s early incarnations, and were subsequently retconned into being demonic (and thus, formerly angelic) entities. Another mystical name to know is John Dee--a contemporary of Shakespeare who claimed to communicate with angels, and learned from them a vaguely semitic conlang called Enochian, which formed the basis for many subsequent demonic and angelic names.

The second major influence on how the supernatural sounds is, of course, Tolkien--his legendarium, and the several constructed languages it was built around, are nowhere near as old, but their sheer depth and ubiquity has led them to inform our sense of the fantastic ever since they were published. It helps that Tolkien (a language nerd of incredible dedication) deliberately designed the various Elvish languages to be pleasing to the Anglophone ear, and constructed the Black Speech of Mordor to sound especially abrasive and unpleasant to same.

Both of these cultural touchstones, of course, are in turn rooted in the structure of English itself--which, simply by being familiar to its speakers, also establishes a set of linguistic elements that come across to us as unfamiliar. You can see this both in the way we parse certain other languages--like Latin and Hebrew, which each carry cultural connotations that color anything we read or hear in them--and how we try to make words and sounds that feel fundamentally ‘other.’ This is why the cliched evil space lord always has a name like Zorblax or Glorbitron or something equally silly; all those Xs and Zs and -or sounds stick out to us as obviously not-from-around-here, both because they show up so rarely in English and because they’ve been so heavily used in other, earlier “outsider” names. In short, they are the Space Noises--learn to love them.

Space Marines

The Astartes are a ridiculously diverse bunch--culturally, at least--and a full accounting of the naming conventions of every major chapter would be a paper in itself. A few trends, however, do stick out across the vast sea of pauldrons that makes up the face of 40k.

Firstly, they tend to default to a slightly generic Greco-Roman theme, with little regard for correct Latin conjugation or (in some cases) the actual established naming practices of a chapter.

Canon: Lucius; Gaius; Titus; Vitus; Julius; Marius; Cornelius; Galba; Otho; Vitellius; Vespasian; Erasmus; Odenathus; Pertinax.

Original: There aren’t any. They’re all taken. Every single one.

Secondly, Black Library loves their Goetia; since space marines are angels of death, and lists of demons are by definition lists of angels, the writers of 40k have given themselves carte blanche to sprinkle Hebrew and Enochian (or just Hebrew- and Enochian-sounding) names across the galaxy.

Canon: Azrael; Asmodai; Belial; Mephiston; Astorath.

Original: Also all taken by one franchise or another, but a few more obscure names, like Focalor and Paimon, haven’t been used for Astartes. Yet.

Thirdly, a few chapters, like the Salamanders, draw on a sort of implicit language (an “implang,” as I’ve started calling it just now and nobody can stop me) for their names; not a fully developed conlang, but a set of phonemes and syntactic conventions unique to that chapter, which evokes a shared culture without laying out the specifics of how their language or society works.

Canon: Tu’shan; He’stan; K’gosi.

Original: Nar’tesh, 3rd Company Lieutenant and famous ASMRtist.

Chaos Space Marines

Traitor Astartes sometimes follow the same general pattern as their loyalist cousins--but they rely more on Greek and Hebrew for their inspiration, use a good deal more Space Noises, and are much more likely to dip into a legion-specific implang.

Word Bearers, in particular, mix Mesopotamian and north African influences with their own Colchisian conventions to create characters that people raised in a Christian milieu can identify as baby-eating diabolists just by reading their names.

Canon: Eliphas; Sor Bakphal; Ankh-Heloth; Marduk.

Original: Tal Berath; Usor-Kehelit; Kor Lugash.

Iron Warriors love imposing sounds that evoke statuary, sieges, and lumbering prehistory, and mix a little German in for extra industrial dehumanization.

Canon: Berossus; Barban Falk; Promodon; Volk.

Original: Tallisk; Cullus Rieg; Idric Therion.

Night Lords have a particularly developed implang, thanks largely to Aaron Dembski-Bowden--there are no concrete rules, but Nostraman names and speech are very evocative of who they are and where their screwed-up childhoods happened, combining soft and harsh syllables to eerie effect. Also, bats. Batsbatsbatsbatsbats.

Canon: Jago Sevatarion; Kellenkir; Uzas; Gendor Skraivok.

Original: Mithrak; Delekiir Surmod; Tadarias.

Chaos Daemons

By the time the actual otherworldly entities of this setting got to the big pile of public domain names, the Astartes had already made off with almost every resource traditionally used for malevolent spirits and the like--so the servants of the Ruinous Powers have had to make do with bespoke names furnished for them by GW's finest edgelords. In general, this means a wild grab bag of Space Noises and more apostrophes than an Austronesian phone book--but certain trends do emerge among the followers of the different Chaos Gods. Supposedly, daemonic names are often tied to their patron deity’s sacred number, but this is rarely adhered to in the fluff.

Khornate Daemons tend to have names that sound like synonyms for anger or types of wounds, like “wrath” or “scar” or “gore.” As the daemons most likely to look and act like Balrogs, they’re also the most likely to have names that sound like Morgoth came up with them. When all else fails, just fall back on the dumbest edgy nineties bullshit you can come up with.

Canon: Skarbrand; Ka’bandha; Hakk’an’graah; An’ggrath; Doombreed.

Original: Rath’gor; Bludskar the Irritated; Skullgoroth Bloodmassacre (Blood Lord of the Skulltaking Goremurderers of Violenceheim).

Slaaneshi Daemons are soft, sensuous, and sibilant, evoking corrupting luxury and puritan sexual terror. They’re ostensibly sexually ambiguous, but they tend to come off as feminine, because only women can be evil and sexy at the same time--at least, before the watershed.

Canon: Luxuria(!); Mistress of Spite; N’Kari; Lushcrix Lashtongue; Kyriss.

Original: Sulatari; Ivress; Scivia the Weirdly Wholesome (secret identity of @jetblackraider).

Nurglite Daemons evoke medical terminology and bodily effluvia, and are the only breed of daemons whose names are even more extra than Khorne’s.

Canon: Epidemius; Horticulous Slimux; Rotigus; Scabeiathrax the Bloated; Maggotgurgle fucking Pukeslime I swear to god that is actually a real character.

Original: Count Thergothon (Lord of the Chronic Court and certified tax attorney); Phagovile the Viscuous; Gribbulous Taintsac (Founder of the Gribbulous Taintsac Institute for Excessive Medical Horror, and head of the accreditation board for Death Guard Plague Surgeons).

Tzeentchian Daemons often have Egyptian-sounding names--or, at least, Egyptian as transliterated into Greek, which is the way most people know the Ancient Egyptian language. They also have the highest letter-to-apostrophe ratio of any Daemon breed.

Canon: Kairos Fateweaver; K'tzis'trix'a'tzar; Aetaos'rau'keres; Shim'dre'lex'kazar.

Original: Azoth Flickerflame; Kheper’atos; Ix’il’kak’iz’it’xyk’ik’ak’it’l’zy’xyx the Unpronounceable (holds the current record for most planets destroyed by failed summoning attempts).

Aeldari

The original name of this faction was lifted directly from Lord of the Rings--in fact, one of the most iconic themes in the movie soundtrack is literally called "The Host of the Eldar." Accordingly, the majority of the sounds and conventions that go into an eldar name come from the Tolkien legendarium (and the many other fantasy worlds that have sprung up around it), with the occasional angelic or Space Noise element--but there’s also a good dash of both Vedic and European pagan (or at least, reconstructed Romantic-era neopagan) mythology mixed into their lore, and allusions to such sometimes pop up in their names as well. In particular, it’s normal for Craftworlds to be named after either goddesses we stopped praying to or holidays we stopped celebrating.

Canon: Eldrad Ulthran; Taldeer; Yriel; Mauryon; Craftworld Biel-tan; Craftworld Os’tara.

Original: Gilthoniex (ranger of Ulthwe who died of shame after being tricked into starring in Drukhari cuckold porn); Athembra (Iyanden Farseer who follows Tyranids around and narrates their behavior in a posh British accent). 

Drukhari

The Dark Eldar are a modern take on the Fair Folk--both directly by way of being decadent evil elves, and by the more roundabout route of being alien abductors with a thing for weirdly sexy science-torture--and their lexicon reflects this by replacing the Quenya- and Sindarin- inspired sounds of the Craftworlds with lots of fey, witchy imagery (largely derived from Celtic culture) and a more sibilant, angular set of Space Noises. They also help themselves to a bit of Sanskrit and Enochian--but with a demonic slant where their cousins might have a hint of the angelic.

Canon: Asdrubael Vect; Lelith Hesperax; Kheradruakh the Decapitator; Arhra.

Original: High Excruciator Ekritar (rose to become Archon of the Kabal of the Ludicrous Edge thanks to a body of spectacularly depraved PornWeb videos);  Rinatha Heartrend (Prima Succubus of the Cult of the Severed String, the Dark City’s foremost NTR specialists); 

Necrons

Necrons are Egyptian space robots. That’s really all there is to it.

Okay, so there’s a little more to it. Necrons draw on Egyptian themes--but like Tzeentch Daemons, it’s Egypt as parsed through Classical Greece. The heyday of Egypt occurred during the misty prehistory of Greek civilization--Pharaohs like Thutmose III and Amenhotep III knew of, and traded with, the Mukinu (Mycenaeans) on the opposite shore of the Mediterranean, but serious diplomatic contact was fairly limited. By the time the Greeks started writing anything down about the Egyptians, it was the 5th century BC, and Egypt’s sun had set. Greeks like Herodotus knew it primarily as a fading power--a helpless subject of one empire after another, fought over by foreign kings in the shadow of crumbling pyramids that nobody even remembered how to build.

Because our idea of Egypt was, for centuries, mostly informed by Greek sources, a lot of people and places have been transliterated from Egyptian to Greek--so gods whose original names were closer to User, Sutih, and Heru became popularly known as Osiris, Seth, and Horus, respectively. This slight detachment between the pop cultural image of Ancient Egypt and their actual spoken language is why Necron names can sound as much Greek as Egyptian--and sometimes, they roam even further into the Balkans and start rummaging through the Baltic and Slavic language families for spare phonemes. They also tend to be studded with Space Noises of a particularly electronic nature.

Canon: Szarekh; Imotekh; Anathrosis; Trazyn; Varagon Drakvir

Original: Nefertronus; Inenoth; Tombworld Per-Ma’akh

Orks

Like the space elves, the space orcs draw heavily on Tolkien--but they eat the hot dog from the other end, with names rooted in the Black Speech and a penchant for vaguely problematic thuggery. Orks, like Uruk, are horrible brutes who exist mostly to die in vast, anonymous hordes at the hands of a protagonist.

Unlike Uruk, Orks are funny.

Yes, I’ve read The Beast Arises. Yes, I remember the dead civilians in Space Marine. The occasional serious outing is simply the exception that proves the rule: Orks are as much British football hooligans as they are the hosts of Mordor, and every time they take center stage, it’s as shamelessly wacky comic relief that's equal parts mad science and Mad Max. Orks are the demented lovechild of Wile E. Coyote and the Mythbusters, and I love them dearly for it.

To make an Orkish name, start with either a few Mordor-ish syllables or a descriptive sobriquet, and record yourself shouting it while (timing is very important here) you’re drunk enough to fight a mailbox, but sober enough to walk away when you lose. Orks have lots of hard G and K sounds and long vowels, giving you all sorts of opportunities to shout at people and hit them over the head--and if you’re not doing either of those things, you’z not speakin’ Ork proppa, ya git.

Canon: Nozgrot; Snagga-Snagga, Wazdakka Gutsmek, Ghazghkull Mag Uruk Thraka.

Original: Killdoza (voted Best Cuddler in the Calixis Sector fifty years running, but mostly because only gretchin are smart enough to actually spell 'Calixis Sector'); Goffmawg (once stole an ultraberry pie from Marneus Calgar's windowsill); Lugnutz Boomkrasha (semi-mythical mekboy active during the Great Crusade, said to still be hurtling through interstellar space, clinging desperately to a planet-cracking warhead aimed in the general direction of Segmentum Solar).

Tau

The Tau ostensibly have their own codified naming scheme--but before that was laid down, they inevitably developed a handful of characters with silly alien-ized versions of famous Asian names. Modern Tau names are usually assembled from long sequences of one-syllable words, in imitation of the modular logograms used in Chinese and Japanese writing. Unfortunately, as it’s currently implemented, it’s kind of shallow, and there isn’t much room for different names--as evidenced by the number of Tau referred to as “Kais” in various media, some of whom are different people and some of whom aren’t.

It’s sad, honestly. There’s so much potential here, and they don’t even scratch the surface--even without leaving the Sino-Japanese Sphere of Generic Asian-ness, there’s all sorts of fascinating, lyrical things you could do with a naming scheme like this, but there’s, like, six Tau books and everyone in them is either a noble space-samurai or an inscrutable space-mandarin, so they’re all one syllable apart.

Canon: El’Myamoto, El’Hassai, Shas'la T'au Kais, Shas'O Kais, Shas'O Vior'la O’Shovah Kais Mont'yr, Aun’Va, Aun’Vre, Aun’Shi.

Original: Por’La Xiu (minor Water caste diplomat and star of the first human-Tau interspecies erotica recorded under the official auspices of the Tau’va), Fio’El Tra Buo’ren (Senior Earth Caste programming director, responsible for developing the endearing behavior subroutines now installed on all frontline drones to prevent frivolous use of the savior protocols), Kor’O Da’he Li’Lian Sou (Revered fleet strategist, architect of some of the greatest space battles of the Second Sphere of Expansion, died in his bed without ever meeting a gue’la).

[historical-nonfiction]

The Mysterious Fate of A Queen And An Empress

Zenobia, the ancient queen who ruled the kingdom of Palmyra after her husband, Odenathus' death. She declared Palmyra no longer a client kingdom of Rome, but an independent state, with her son its king and her its regent. A weak short-lived emperor, Claudius Gothicus, recognized her sovereignty in 268. She quickly began taking land which had once been Roman, including the breadbasket Egypt and the wealthy city of Antioch. Palmyra became known as the Palmyrene Empire. But it was not to last.

A new and more able Roman emperor, Aurelian, consolidated his power then moved on the new Palmyrene Empire. Aurelian besieged Palmyra in 272. The empress tried to flee east, toward Persia, but was captured when she reached the Euphrates River. Empress Zenobia, and Palmyra, was defeated.

Then things get mysterious. No one knows what exactly happened to Queen Zenobia after 273. Some Arab sources claim she committed suicide to avoid capture. Roman sources say that Emperor Aurelian, not willing to execute a woman, brought Queen Zenobia to Rome as a captive, to be shown before Rome during his triumphal parade. Some sources say she was then decapitated. Others claim she married a Roman senator, and lived the rest of her life as a Roman matron. To this day no one knows which story is the truth.

[aqueensgamble-blog]

People of Palmyra - King Odainat

Septimius Odenathus, or Odainat, was the head of the Julii Aurelii Septimii tribe.  He rose to power in Palmyra, and then quickly proved himself to be an amazing general and a fearless leader.  His wife, Semptimia Zenobia, Bat Zenabai, or Queen Zenobia, was said to hunt and ride with him.  His death at Emesa, after either a battle with Parthian renegades, or possibly a hunt, is known to be an assassination, possibly by his cousin.  While Zenobia has been blamed for his death, there is really very little to support that, other than the fact that she took the power when her son inherited the throne.

[rnsulentic]

Odenathus of Palmyra rides again. 15mm Irregular, TTG, Essex, minifigs,and Asgard figures. Really cleaned out the bits box for these guys. Fun fact: Since Odenathus was styled both Dux Romanorum and Corrector Toitus Orentis, this is a Roman Army!

[aic-american]

Zenobia, Queen of Palmyra, Harriet Hosmer, 1852, Art Institute of Chicago: American Art

Harriet Hosmer was the leader of a small group of women who studied sculpture in Rome in the 1850s. Her work frequently addresses the theme of strong, independent women who are ultimately punished for seeking a level of power and ambition thought to be inappropriate to their sex. This portrait depicts Zenobia, the queen of Palmyra, who ruled the Syrian city after her husband, Odenathus, died in A.D. 267. Zenobia conquered Egypt and much of Asia Minor before her defeat by the Roman emperor Aurelian in A.D. 272. Portraying the queen at the moment of her capture, Hosmer emphasized Zenobia’s dignity, remarking, “I have tried to make her too proud to exhibit passion or emotion of any kind; not subdued, though a prisoner; but calm, grand, and strong within herself.” Restricted gift of the Antiquarian Society Size: 86.4 × 57.2 × 31.8 cm (34 × 22 1/2 × 12 1/2 in.) Medium: Marble

https://www.artic.edu/artworks/125652/

[aic-american]

Zenobia, Queen of Palmyra, Harriet Hosmer, 1852, Art Institute of Chicago: American Art

Harriet Hosmer was the leader of a small group of women who studied sculpture in Rome in the 1850s. Her work frequently addresses the theme of strong, independent women who are ultimately punished for seeking a level of power and ambition thought to be inappropriate to their sex. This portrait depicts Zenobia, the queen of Palmyra, who ruled the Syrian city after her husband, Odenathus, died in A.D. 267. Zenobia conquered Egypt and much of Asia Minor before her defeat by the Roman emperor Aurelian in A.D. 272. Portraying the queen at the moment of her capture, Hosmer emphasized Zenobia’s dignity, remarking, “I have tried to make her too proud to exhibit passion or emotion of any kind; not subdued, though a prisoner; but calm, grand, and strong within herself.” Restricted gift of the Antiquarian Society Size: 86.4 × 57.2 × 31.8 cm (34 × 22 1/2 × 12 1/2 in.) Medium: Marble

https://www.artic.edu/artworks/125652/