#troy saw iii

[mirroredmemoriez]

[doloneia]

hector “you can speak better than that polydamas the only true bird is patriotism” of troy and teucer “i heard of a stupid loser and he looked exactly like you and yknow what youre the same guy do i need to be more obvious” son of telamon are my favorite cousins of all time like wow zingers really do run in the family dont they

[amandabe11man]

assorted Saw + textposts-memes

part 1

[muridscourt]

Posting this alone cause I love Michael and Troy

[venusbloodingiscanon]

Here I made the ship that I like the least, but it was a challenge from my friend, so here it is, I made it in genderbend because I liked it.

[giveamadeuschohisownmovie]

* I’m excluding anyone who didn’t have a chance to save themselves since they’re more pawns to someone else’s game. That’s why Judge Holden, Timothy, and Danica aren’t in the poll since Jeff was the subject.

* Amanda’s test subjects still count since we didn’t learn her tests were unwinnable until after the fact

[temporaltourguide]

heres troy, skskksksksk

[lisalamona]

𝐀𝐌𝐁𝐈𝐕𝐀𝐋𝐄𝐍𝐂𝐄 - III

Chapter III: Full Speed Ahead

. Summary: Despite your brother's insistence, you stubbornly decided to join him and his men in the war. Now, are you prepared to face the consequences of your actions? . Pairing: Various x Fem! Reader (platonic) . Warnings: graphic depictions of violence, death, trauma, and other sensitive content. . Notes: I'm starting to upload this story here on tumblr, I am really sorry for clogging the tags.

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Masterlist

The boat swayed gently beneath your feet, the murmur of activity around you blending into the steady rhythm of waves lapping against the ship. Shouted orders, ropes creaking as they strained against the mast, and the sea breeze carried the faint tang of salt and ash. Yet, amidst the chaos of men and motion, your gaze remained fixed on the receding silhouette of Troy.

The city that once stood tall and unbroken was now a distant smudge against the horizon, its once-proud walls crumbled into memory. Smoke still curled into the sky. You could almost hear the echoes of the past—the clash of swords, the cries of the wounded, the relentless roar of battle.

And the child.

Your stomach twisted as you thought of the boy, so small, so innocent, held aloft above the battlefield. The moment replayed in your mind, over and over, like a cruel refrain. His wide eyes, the faint gurgle of breath, the way the world seemed to hold its breath as Odysseus... You didn't want to think about it, sure you would've done the same but still... You swallowed hard, forcing the thought away, but the weight of it lingered, heavy and unshakable.

The war, the men around you called it glorious. A cause worthy of songs and legends. But standing here now, watching the ruins of Troy grow smaller and smaller, you could only feel the bitter aftertaste of victory. Was this what glory looked like? The shattered bodies, the grieving mothers, the wails of orphans left behind? Was this the price you were willing to pay?

You gripped the railing tightly, the rough wood biting into your palms. It wasn't just the child. It wasn't just the war. It was everything—the years of bloodshed, the sacrifices demanded, the lives unraveled. You had fought so hard, for so long, to prove yourself. To stand beside Odysseus as an equal. And now, you weren't sure if you had gained anything other than guilt.

Behind you, the voices of the crew carried on, oblivious to your turmoil. You envied them, in a way. For them, this was a return to life—a chance to go home, to rebuild. For you, the path ahead felt uncertain.

A sudden gust of wind ruffled your hair, carrying with it the scent of the open sea. You closed your eyes, letting the coolness wash over your face. When you opened them again, Troy was little more than a speck on the horizon, a distant dream—or perhaps a nightmare.

"Hey." You jumped slightly as a hand landed gently on your shoulder. Turning, you saw Eurylochus, his face shadowed with concern as he took in your startled reaction. "Are you alright?" he asked, his tone softer than usual.

"Uh, yes. Just... a bit jumpy," you said, forcing a weak smile in an attempt to reassure him.

"Well, that's what war does to people," he replied, trying to inject some lightness into his voice. You chuckled—soft, awkward, and strained—but the moment your laugh died, his sharp eyes cut through your pretense.

"Look," he started, his voice dropping into something more earnest. "I know how hard these past ten years have been for all of us. We've lost comrades, friends... we've seen men fall to swords, to starvation, to the wrath of the gods. We've watched people we love slip through our fingers." He paused, searching for the right words before continuing, "But it wasn't all in vain. We survived. You survived. Every step forward was for something greater."

His words hung in the air as he nudged you lightly. "You did great, you know. Where's the spunk you've shown all these years gone, eh?"

You let out a sigh, your shoulders slumping. "It's hard to hold onto that 'spunk' after everything we've been through."

"I'm no Polites," he said with a crooked grin, trying to lighten the mood. "But look at the bright side: we're still breathing. And soon, we'll be on our way home. Peaceful days, good wine, home. Doesn't sound too bad, does it?"

You couldn't help but smile at his attempt at optimism. The gods knew positivity wasn't his strong suit, but he was trying, and somehow, that made it better. Though the ache in your chest didn't ease entirely, his words chipped away at the heaviness.

"Not bad at all," you admitted.

For the first time in a long time, a small sliver of hope pierced through the despair.

Your eyes met, and a soft smile passed between you. His hand moved gently, stroking your arm with a touch both soothing and grounding, as if silently assuring you that you weren't alone in this.

The tender moment was broken by a voice calling for Eurylochus in the distance. He gave your arm one final, reassuring squeeze, his warmth lingering for a heartbeat longer, before rising to see what was required of him.

You closed your eyes once again, letting the fresh, salty sea air brush against your skin and tousle your hair. The sound of the waves lapping against the hull offered a fleeting sense of calm, though it couldn't quite drown out the storm raging in your mind.

"Feeling seasick?" Polites' voice broke through your thoughts, warm and steady like the breeze around you.

You opened your eyes to find him standing beside you, a faint smile tugging at the corners of his lips. It wasn't teasing—more like an unspoken offering of comfort.

"Not exactly," you murmured, looking down at the endless expanse of water.

He didn't push, just leaned on the railing next to you and gazed out at the horizon. "You know, no matter how many times we've been out here, the sea never gets old. It's... endless, isn't it? Like it's holding onto secrets we'll never know."

You nodded, letting his words fill the quiet.

"Think about it," he continued, his tone deliberately light. "When we get home—really home—what's the first thing you'll do? Me? I'm heading straight for a feast. A real one. Wine flowing, music playing, none of this dried rations nonsense."

Despite yourself, a small smile crept onto your lips. "I'm guessing you'll be first in line for seconds."

"Thirds, if I'm lucky." He grinned, his easy demeanor chipping away at the heavy weight pressing on your chest.

Polites turned to face you more fully, his voice softening. "We'll make it, you know. Past all of this." He gestured vaguely to the sea, but you knew he meant more than the journey itself. "We always do."

You wanted to believe him, even if the shadows of what had just happened lingered like ghosts in the back of your mind. For now, you let his words carry you, like a current guiding you closer to shore.

──────🗡️──────

As Odysseus stood alongside Eurylochus, their gazes drifted toward you and Polites, who stood a little apart from the group. The air was heavy with the sounds of the bustling of men and the murmur of voices. Despite the bustle, Odysseus couldn't shake his concern.

"She's holding up better than I expected," Eurylochus said, his tone measured. "She always does, doesn't she? Stronger than most men I know."

Odysseus let out a low hum of agreement, but the tension in his jaw betrayed his unease. "I should have never allowed her to come," he muttered, more to himself than anyone else. His fist tightened, nails digging into his palm. "What was I thinking, dragging her into this?"

Eurylochus glanced at him, his expression softening. "You didn't drag her into anything. She made her choice." He paused, then added with a small sigh, "But if it were up to me, I wouldn't have let her come either."

Their conversation fell quiet for a moment, both men watching as Polites said something that made you laugh—a bright, unexpected sound in the gloom of their circumstances. For a brief moment, your shoulders relaxed, and the lines of worry etched into your face softened.

Odysseus's lips twitched into the faintest of smiles, but the worry in his eyes remained. "She's strong," Eurylochus repeated, his voice firm now. "She'll get through this, just like she always does."

Odysseus nodded, though the knot in his chest didn't fully ease. "I hope you're right," he said quietly, as he turned back to his work.

"Captain." Odysseus turned his attention back to Eurylochus, whose face was tight with concern. "We're running out of supplies to eat," he said, his voice low but steady. Straightening his posture as if slipping back into his role, Eurylochus gestured vaguely toward the men around them. "We don't have much left, but we still have 600 mouths to feed. What do you suggest we do?"

Odysseus barely hesitated. The answer came to him like a whisper carried on the wind. "Watch the skies," he said, his tone resolute. "Follow the birds. They'll lead us to land. There, we'll hunt and restock."

With a decisive nod, he gestured for Eurylochus to alert the others, his eyes sharp with determination. "Let them know—hope is on the horizon."

"Captain!" A cheery voice called out to Odysseus.

"Polites!" Odysseus returned the excitement, striding toward the source of the voice where you and Polites stood.

"Look!" Polites gestured eagerly toward the horizon. An island loomed in the distance, still far but close enough for a faint glow to be visible against the growing shadows of dusk. The golden light flickered softly, almost invitingly. "There's an island up ahead. I can see a faint glow—it might be a fire. Maybe there are people there, and maybe they'll share some food."

You squinted at the distant glow, a strange unease stirring in your chest. "Something feels wrong," you said quietly. "I see fire... but no smoke."

Eurylochus, not far from Odysseus, scoffed and crossed his arms. "Then we don't take any chances. We strike first."

Polites whipped around to face him, his expression caught somewhere between outrage and disbelief. Before he could retort, you placed a calming hand on his shoulder.

"Let's not be hasty," Polites muttered.

"We don't have time to waste," Eurylochus pressed, his voice hardening. "I say we raid the place and—"

"No."

The single word from Odysseus cut through the growing tension like a blade, leaving no room for argument. His expression turned serious, the gleam of caution in his eyes silencing the debate.

"Polites, [Name], gear up. We'll go ahead." Odysseus's voice was steady, but there was a flicker of hesitation in his eyes. He knew it was risky bringing you two along, but a small part of him clung to the hope that a moment alone—just the three of you—might cheer you up. Or, at the very least, help you relax. He just prayed that small part of him wasn't wrong.

"We should try to find a way no one ends up dead," he added, though the weight of his tone made it clear he wasn't entirely convinced it was possible.

Polites shot Eurylochus a small, mocking grin. It was the kind of jab shared between friends, harmless. Eurylochus didn't respond in kind, his wariness about Odysseus's plan clearly written across his face.

"We don't know what's ahead," he muttered.

Odysseus cut him off with the confident bravado that always seemed to rally the crew. "Give me until sunrise. If we're not back by then, send in six hundred men and burn this place to the ground. Now, full speed ahead!"

As he barked orders to the rest of the crew, his voice carried that infectious determination. "We're up, we're off, and away we go!"

Eurylochus lingered behind, his hand rubbing his eyes as if to ward off a vision of the inevitable. "It's just a matter of time before we all end up dead."

"Don't worry, big boy," you teased, patting his back with exaggerated mockery. "You'll get your turn to play next time."

With that, you turned on your heel, Polites falling into step beside you as you both prepared for the journey ahead. The weight of what was to come loomed large, but for now, all you could do was press forward.

[royaltysimblr]

Maria Christina, Princess of the Isle (1843-1869)

read about her below!

Infanta Maria Christina of Selvadorada was born in 1843 to King Felipe III and his wife, Princess Maria Annunciata of Tartosa. Maria Christina grew up in a large family, having four brothers and four sisters. The Infanta enjoyed singing and dancing and often performed for her family at the palace. Infanta Maria Christina enjoyed a close relationship with her two older siblings, Infanta Isabella and Infante Gabriel who were close in age. Maria Annunciata was a strict mother and was often harsher on her daughters. Infanta Isabella was a rebellious princess who pushed boundaries with her mother and used her sister, Maria Christina, as an accomplice. As Maria Christina became older, her cheerful demeanor diminished until she became a quieter and more mellow version of herself. Maria Christina found joy in reading and playing music which her mother encouraged. The young Infanta often accompanied her parents to official engagements and was always described as charitable and kind.

In 1863, the Princess became engaged to Charles, Prince of the Isle, heir to the Windenburgian throne. While staying at the Champes Les Sims residence of her cousin, Princess Anna of Tartosa, she met the Prince of the Isle. The Prince became enchanted by the young Infanta whom he saw playing the harp. The couple were described as "instantly smitten with one another" by Princess Odette at a banquet she had hosted for the Prince. Odette, who had orchestrated the engagement, was eager for the match, as Maria Christina was a cousin of her husband.

In 1863, the Infanta was married to Charles, Prince of the Isle. The wedding was a grand affair, taking place at the St. Bartholomew Cathedral in San Myshuno. A second Jacoban ceremony was held privately afterward. Following the ceremony, a week of banquets and balls were held to celebrate the new couple. Infanta Maria Christina remained a devout Jacoban, however her children would be raised in the Peteran faith.

Maria Christina had a difficult time adapting to the Windenburg court but found solace in her sisters-in-law, Princess Charlotte and Princess Matilda. Queen Mary was instantly impressed by the Infanta's charm and beauty, comparing her to Helen of Troy in her diary. The Queen affectionately called the Infanta "Tina" which became a family nickname. The couple settled at Honey House, the former residence of Charles' grandmother, The Duchess of Rochester. Charles loved his beautiful new wife, however even her company couldn't cure his melancholia. The whole family was deeply saddened by the birth of Maria Christina's stillborn son in 1864. The Queen, who had shown little sympathy for the miscarriages her own daughters suffered, was reportedly heartbroken and shocked by the stillbirth. With the fragile state of her husband's mental health, and her sisters-in-law leaving Windenburg to get married, the Infanta found herself all alone at court. In 1866, she gave birth to a healthy baby, Princess Alexandra. Charles and Maria Christina were delighted by the birth of their daughter whom she nursed herself, which was quite unusual for highborn women of the time. Due to her isolation, the Infanta turned toward religion, visiting the royal chapel nearly every day. In 1869, her prayers came true, and the Infanta gave birth to twins, Prince Henry, and Princess Charlotte. Soon after the birth, Maria Christina passed away due to complications. The next day, her infant son, Prince Henry, would also pass away. The tragic deaths of Maria Christina and Henry would forever haunt Charles who would never recover. Her cousin's daughter, Princess Adelaide of Brichester would later marry her husband and raise her children as her own.

[maraudereestauderelb]

What are the Chances IV (Troy Otto)

Let me know if you want to be tagged in future parts :)

Tag list: @mischiefnevermanaged89-blog

Part I Part II Part III

Masterlist

The next few days after Y/N’s conversation with Jeremiah were a blur of hard work and anticipation. The shift system hadn’t been implemented yet, but Y/N could sense the wheels turning. People were still exhausted by mid-afternoon, and every time she saw Jeremiah observing them from a distance, she knew he was considering her idea. 

One afternoon, after the day’s work had slowed to a crawl under the brutal sun, Troy approached her. “You ever fired a gun before?” he asked, leaning against the fence with that familiar smirk. 

Y/N hesitated. "I mean, I’ve used that little revolver a few times when we were on the road, but I’m not exactly an expert." 

"Thought so. You’ve been lucky so far, but luck runs out. I’ve seen it." His eyes flickered with something darker before he waved a hand. "Come on. I’ll show you how to really use one." 

They walked out to a quiet area near the edge of the ranch, a makeshift target set up against a tree. He handed her a rifle—heavier than the revolver she was used to—and took a step closer. “Alright, first things first,” Troy said, his voice low and instructive. “So you hold it like this,” he explained, moving her arms and hands until they were in the correct positions. 

His touch was firm, but gentle, guiding her hands into place, and it sent an unexpected shiver through her body. Y/N struggled to focus on what he was saying, feeling the warmth of his body behind her. His breath tickled her ear, and she had to remind herself to breathe. 

"And then you just pull the trigger," Troy said, stepping back just enough to give her space. 

Y/N took a deep breath, trying to steady herself as she looked down the barrel of the gun. Her target—a rough circle drawn onto a board—seemed further away than it actually was. She focused, exhaling slowly as she pulled the trigger. The gun kicked back slightly, the shot ringing out in the still air. It wasn’t a perfect hit, just on the edge of the target, but for her first try with a rifle, it wasn’t terrible. 

"Not bad," Troy commented, his voice close enough to remind her just how near he was. 

She quickly lowered the gun and flicked on the safety, turning around slowly to face him. He hadn’t moved away at all, and as she looked up, she found herself staring into his intense blue eyes. For a moment, neither of them said anything. Troy's gaze flickered down to her lips for a brief second before snapping back up to meet her eyes. The air between them was thick with something unspoken. 

"Had I known you didn’t know how to shoot," Troy started, trying to break the tension, "I would’ve been more cautious and nice when I found you." 

Y/N’s lips twitched into a small smile. “Wouldn’t have shot you even if I had known,” she replied, her voice quieter than she intended. Her eyes drifted to his lips before she could stop herself, the charged atmosphere making it impossible not to notice the closeness between them. 

Troy’s smirk faltered for just a second, his eyes darkening as he stared back at her, the space between them seeming to shrink without either of them moving. Y/N felt her heartbeat quicken, her pulse loud in her ears. 

But before anything more could happen, Leona’s voice cut through the moment like a knife. “Oh Jesus, there you are, Y/N!” 

Both Y/N and Troy jumped, stepping back from each other quickly as if they’d been caught doing something they shouldn’t. Y/N’s face flushed with a heat that had nothing to do with the sun, and she turned to see Leona approaching, hands on her hips. 

"I’ve been looking for you everywhere!" Leona said, exasperation in her voice. "You said you were just gonna grab some water, and then you disappear? What are you two doing?" 

"Uh, just some target practice," Y/N stammered, glancing back at Troy, who was suddenly busy cleaning the rifle like nothing had happened. 

Leona gave them both a suspicious look but shrugged it off. "Well, Jeremiah’s looking for you. I think he’s going to try your shift idea." 

Y/N blinked, her mind still racing from the close encounter with Troy. "Really?" 

"Yeah, he wants to talk to you about it." 

Y/N nodded, trying to shake off the lingering tension and refocus. "Okay, I’ll head over." She turned to Troy, who gave her a subtle nod, his expression back to its usual unreadable self. 

As she and Leona walked away, Y/N couldn’t help but sneak one last glance over her shoulder at Troy. He was watching her, his journal tucked under his arm, the same thoughtful look on his face. 

Part V

[probablydeletethis]

I saw the theory about Ares helping Odysseus in 600 Strike because of the glowing red eyes in the animatic and I like it because it’s what Athena promised Ares to get him to agree on letting Odysseus free in God Games.

“To get back to his homestead he’ll make everybody bleed.”

Ares could have shown up to collect on that promise. I’m also thinking of Ares not vibing with how Odysseus handled Scylla and Troy, but let’s face it, Odysseus was not being a warrior of the mii~iii~iind with Poseidon. He just straight up fought with him and got ugly with no noble command to hide behind. I feel like Ares would vibe with that.

[blueberry-bubbles130]

Was going through some of the historical polls I did and I saw @bunniesandbeheadings comments about it would be funny if Richard III was solving the murder mystery.

So now I’m gonna do a fanfic where Richard III is a detective and George, Duke of Clarence is his partner for solving them. Except I’m just have them solve the cases from Midsomer Murders because I don’t know how to write murder mysteries. George is gonna be the Gavin Troy to Richard’s Tom Barnaby.

[dikdikpronouncedxylophone]

The First Traps of Each Saw Movie and Setting Up Themes:

I've been thinking a lot about the first traps presented in each Saw movie. Introductions in movies show the world we're getting into and specific themes we need to look out for, so I wanted to see how well the first traps serve as establishing scenes.

Warning: Severe salt for Saw 3D.

Saw: The Bathroom / Razor Wire Maze

I wasn't sure which one would count as the "first trap" since the Bathroom is the overarching plot, so I will analyze both.

The movie's opening disorients the audience as we accompany Adam to an unfamiliar location with an unfamiliar man. The beginning of this trap serves to put the audience in the victims' shoes as they wake up in a hellhole with no warning, which we'll see with every test subject.

In the Razor Wire Maze we hear Jigsaw explicitly cite the reason Paul is in this situation is that he attempted suicide (though he uses the age-old accusation that it was just for attention). This trap serves to explain Jigsaw's philosophy that people who do not value their lives do not deserve to live, therefore providing insight into our unseen (until the end) antagonist and his actions that started the conflict.

Saw II: Venus Flytrap

The tape states that Michael Marks has a dirty job of a police informant that violates others' privacy and rights. The trap serves to set up our police B-plot and introduce our unsympathetic protagonist Eric Matthews, who is revealed to be Michael's client and used the information to frame innocent people and falsify evidence.

Saw III: The Classroom Trap

Troy's setup is similar to the traps we've seen in the first two movies, but the immediate aftermath establishes a discrepancy to Jigsaw's philosophy. Amanda honored John Kramer's trap design, but she welded the door shut without his consent. This trap serves to introduce the type of apprentice Amanda is and her inescapable traps. For following installments, it sets up the apprentices' steadily increasing bastardization of the Jigsaw philosophy.

Saw IV: The Mausoleum

This test introduces us to Art Blank, who becomes Jigsaw's unwilling pawn to set up Eric and Hoffman's climactic trap and supervise so they can all win together. The Mausoleum serves as foreshadowing to the climax, where miscommunication seals everyone's fates. Trevor and Art, who were made blind and mute, couldn't come up with a way to get through to each other in the terrifying adrenaline-filled moment. Detective Rigg accidentally busted through the door too early and nobody in the room could communicate that he needed to wait a few seconds because he was out of hearing range and moving too fast before he triggered the trap's execution and shot Art.

Saw V: The Pendulum Trap

The setup for Seth's trap appears similar to Amanda's first shown inescapable trap in III. Mark was revealed to be an apprentice at the end of the previous film like Amanda was in II, so it would follow the same pattern that he would have a base level of respect for John Kramer before bastardizing his philosophy too. However, we learn that Hoffman did this before being recruited (threatened) by John Kramer. This trap serves to provide more depth into Mark's character, namely that he's hands-on and a sloppier killer (as seen by John's complaints about the blade's steel).

Saw VI: Pound of Flesh

Simone and Trevor were put into the trap for being loan sharks extorting their clients despite being hired to assist them in bad financial situations. The trap serves to set up the overarching plot with a predatory health insurance business that finds loopholes to deny care while reaping the benefits of monthly payments. It also establishes a pattern among the traps where one subject lives at the expense of another.

Saw 3D: Public Execution (oh boy...)

I'm... this is just going to be me complaining about the lack of thematic significance (omitting my gripes about the stylization and effects).

If they were trying to make a statement about making Jigsaw an in-universe spectacle like Bobby Dagen did, it fell on its face. Public locations are not the modus operandi for any Jigsaw apprentice– every trap, regardless of the killer, is in an abandoned and isolated location where nobody can call for help. Even though Mark doesn't respect John Kramer, he still sets up the traps in a similar manner, as seen with the Pendulum Trap before he was an apprentice. There are no thematic connections to Jill either despite us following her for a portion of the film.

Aside from showing up at the group therapy (promotional... DVD...) Brad and Ryan didn't seem to be important beyond that, but according to the audio commentary Brad and Ryan were supposedly the two other pigheads with Dr. Gordon at the end. However, they're never unmasked, which is confusing for the audience about where these two alleged "apprentices" came from.

(side note: Brad & Ryan should've kissed after the trap)

Jigsaw: Bucket Room

The movie's climax reveals the overarching group test was done twice– one with John Kramer running it and his apprentice Logan running the second while he makes the public think John's alive. The initial part of the trap serves to hide Logan's face in the first test and the identity of the hanging victim the police find in the second (the movie's time shenanigans make it seem that Logan and the hanging victim are the same person). It sets up another apprentice's reveal and explains how John is talking to two of the subjects in person when it was established from the beginning of the film that he was dead (I sound like a conspiracy theorist).

Spiral: Subway Trap

The tape states Detective Bozwick took the stand multiple times to give false testimonies and cover up evidence to the contrary. Spiral centralizes on a copycat killer with no affiliations to Jigsaw or his apprentices, instead using his own agenda to torture and murder corrupt cops. This trap serves to establish the copycat's motivations and prime the viewer for the movie's criticisms of the corrupt police system and conspiracies of cops covering for each other.

Saw X: Eye Vacuum / Tumor Pipe Bomb

I wasn't sure which one to choose as the "first trap," considering the first one never happened in-universe. Regardless, I'll analyze them both as presented to the audience.

The imaginary Eye Vacuum trap demonstrates John Kramer's creative process where he sees body parts, the person's act of sin, and an ordinary object that could be used for torture if used properly. This imaginary trap serves to set up John Kramer as our protagonist where the audience can take his point of view.

The Tumor Pipe Bomb is the first of many in John and Amanda's mission to test the con artists taking advantage of dying patients and teach them what the cancer patients are actually going through. This trap establishes the series of cancer-related traps and shows how John views his terminal condition.

[noirtek]

j. larose as troy, saw III behind the scenes

[godsofhumanity]

BOOK III | HOMER'S ODYSSEY | LITERATURE REVIEW

SUMMARY: Telemachus arrives in Pylos and is warmly greeted by King Nestor who praises him for his eloquence in speech, remarking on the similarities between Telemachus and Odysseus. Nestor recounts the events that have taken place at the end of the war, notably the death of Agamemnon, but does not know where Odysseus is. At the end of the book, Nestor provides Telemachus with a chariot to travel to Sparta to ask Menelaus for further information.

previous book / all books / next book

Book 3 is a pretty pleasant book all around- there's no suitors to annoy Telemachus, Nestor and his sons treat both Telemachus and Athena very well, and even though we don't know exactly what's happened with Odysseus, we get a lot of insight into what went down at the conclusion of the Trojan War.

let's first start with Telemachus' arrival in Pylos where the crew is immediately welcomed and fed:

"When [the Pylians] saw the strangers, they crowded round them, took them by the hand, and bade them take their places. Nestor's son Pisistratus at once offered... soft sheep skins [to sit on]... he gave them their portions of the... meats and poured wine for them into a golden cup, handing it to Athena first..."

Xenia, as i've mentioned in the previous books, is an extremely central theme to the Odyssey. we have examples of bad xenia (for example, the way Penelope's suitors treat Odysseus' house), and now we have an example of excellent xenia.

before even knowing who Telemachus is, Nestor's people welcome Telemachus and his crew. they hold nothing back for these strangers. they don't inquire about who they are, where they're going. for all they know, Telemachus and his crew could be in Pylos to rob them!! but it doesn't matter. Nestor treats the crew well regardless.

secondly, at this point, no one knows that Mentor is actually Athena. and yet, Pisistratus (Nestor's youngest son) gives the cup to Athena first.

it may be that he does this because Mentor is the eldest, but i think, on a deeper level, this is a reminder of what pious people the Pylians are. in all things, they put the gods first, even if it is unconsciously.

now, after they offer the prayers and everyone's been served dinner, Nestor finally realises who Telemachus is, and again, Telemachus is told how similar he seems to his father :))

but more importantly, we hear, for the first time, what happened to four key characters: Agamemnon, Menelaus, Odysseus, and Diomedes.

first, we are told that Athena "creates a feud" amongst the Achaeans. the reasons for this are unclear, but essentially, Agamemnon wants to stay in Troy and offer sacrifices to Athena while Menelaus wants to leave for Sparta at once.

intuitively, one might expect that the people offering the sacrifices should be more favourable in the gods' eyes than the ones who are just trying to get back home immediately. BUT that's not the case because Agamemnon and Odysseus, who stay behind, have a pretty troublesome journey back, while Menelaus and Diomedes, who leave immediately, actually make it home safely.

i don't believe this is because Agamemnon and Odysseus were hated or anything-- we are told frequently that "never yet [were] the gods so openly fond of anyone as Athena then was of [Odysseus]"....

i think it's just the idea of "fate". no hecatombs and offerings can bribe the gods to change fate.

the troubles of Agamemnon and Odysseus actually remind me of the death of Sarpedon in the Iliad (Book 16 (XVI))... Zeus desperately wishes to prevent Sarpedon's death but even he, king of the gods, cannot do so. there are some paths that must be travelled. this is affirmed later in the book:

"Still, death is certain, and when a man's hour is come, not even the gods can save him, no matter how fond they are of him." (Nestor about Agamemnon's death)

so, Agamemnon's offerings are cute but ultimately worthless-- his fate was already set.

now, what actually happened to Agamemnon? well, when Agamemnon first leaves Mycenae, his wife, Clytemnestra is left alone and is plagued by suitors. well, not suitors, but a suitor... Aegisthus (who, in the lore, actually murdered Agamemnon's dad, Atreus!). we are told:

"At first, [Clytemnestra] would have nothing to do with [Aegisthus'] wicked scheme, for she was of a good natural disposition; moreover, there was a bard with her... Aegisthus carried this bard off to a desert island... after which, she went willingly enough to the house of Aegisthus."

and of course, they plotted to kill Agamenon when he came home, and then, of course, 8 years later, Orestes (Agamenon's son by Clytemnestra) comes back and kills both his mum and Aegisthus.

it is worthwhile here to compare Penelope and Clytemnestra. both women have their husbands leave them alone while they go to war. both are plagued by suitors trying to seduce them into marrying again while it is not clear whether their husbands live or not. and YET. only one woman meets a sticky end.

LitCharts suggests that the bard plays an important role here, and i think this is true. you'll recall in Book I that a bard recounts the story of the war and Penelope tries to stop him because she can't stand the memories of Odysseus... but Telemachus scolds her and insists that she listen to it.

well, in Clytemnestra's story, there's also a bard. and at the exact moment that the bard is done away with, she falls for Aegisthus' tricks and so dooms her life.

the bard represents memories. through his song, he keeps the memory of the women's husbands alive. therefore, by preventing the bard's song, the memory fades, the loyalty dies, and the husband is "dead".

Book 3 therefore suggests that Telemachus' insistence that Penelope listens to the bard's song back in Book I was more prudent than we initially expected-- he kept Odysseus' memory awake, as painful as it was, and so the temptation to forget him was lessened.

so, ultimately, Agamemnon's story is very important for the Odyssey. it's almost a parallel to Penelope and Odysseus' story... a sort-of "what if..." version of events.

Nestor also ends his recount with this exact warning:

"Take my advice then, and do not go traveling about for long so far from home, nor leave your property with such dangerous people in your house..." (Nestor to Telemachus)

at the end of the recount, Athena also agrees with Nestor, and then we go into a very detailed description of the sacrifice of 81 black bulls to the gods.

what jumps out the most to me in this segment is the part about "cutting the tongues" of the bulls and offering them separately to the rest of the organs.

i couldn't really find any concrete answers as to why this was done, but one theory is that the offering of the tongue as the final step sort of signifies the "end of talk"... as in, now that the tongue has been offered, there's nothing left to say. and this might have significance here as when this is done, Nestor invites Telemachus to stay in his house for the night, and that's kinda it. there's no further insights to be made.

additionally, after this sacrifice, Athena reveals her divine self when she transforms into an eagle in front of everyone, leaving Nestor pretty speechless.

it's a sign that Telemachus is, indeed, favoured and blessed by the gods, and while Nestor's advice is very useful,, ultimately, he is going to be guided by the gods who are in control of the reins... theirs is the final word, or at least, fate has the final word. so, the final offering of the tongues is sort of the way to signify that, between Nestor and Telemachus, all that needs to be said has been said.

sure enough, the next day is Telemachus' last day in Pylos. Nestor makes another elaborate sacrifice to Athena, getting a heifer's horns gold-plated and then killing it for her... and then a chariot is prepared for Telemachus, and no other noteworthy words are exchanged between Nestor and Telemachus. and so concludes Book 3.

in Book 4, we'll hear from Menelaus and the lovely Helen, and perhaps, learn more about where the hell Odysseus is.