#''the wine dark sea'' from the Odyssey

[atlantic-riona]

actually I'm very curious to know what lines and/or live rent free in everybody else's head

[it-its-swag]

PROPAGANDA FOR THE WINE DARK SEA

#winedarksweap

.

[katerinaaqu]

Odyssey Parallels to my "Survivor's Guilt and Survivor's Duty" story (Rhapsody /Book 5 of Odyssey, Calypso's Monolog)

So here is a small break down of one of my most beloved fanfictions of Odyssey line by line from Calypso's monolog in 5th rhapsody of the Odyssey where she complains to Hermes for demanding to let Odysseus go, listing what she did for him. I find interesting how she speaks of the things she indeed DID do for him as if that somehow makes him her "property" or rather having a right on him (or as my brilliant friend @artsofmetamoor stated "like she was keeping a cat!" XD) Buckle up this analysis is long! XD

And I was the one to save him, while he was alone holding onto the ship's keel, for his fast ship was split open in the middle of the wine-dark sea by Zeus's thunder!

(Translation by me)

"Odysseus traveled once more; this time alone and grabbing upon the last remains of his beloved black ship… The night came cold and he was shivering. By the morning another storm caught up with him and his mast was once more drifted by the huge waves that resembled white top mountains, tearing apart his clothes and his flesh. And yet his hands endured… It was as if his heart and hands combined turned into oak or stones. The Man of many Torments endured. (From Part1)

Next day the sun was merciless over his head, sending him almost to the brief of hallucinations and heat as sweat was running down his already wounded body. The night the gods felt pity on him and sent a drizzle rain. Odysseus raised his head to the heavens trying to grab as much of the fresh god-sent water as if that would be enough to quench his insatiable thirst and the burning of the salt. Once a passing seaweed came close to him to which Odysseus made some sort of imitation of a meal for himself. How many times he nearly slipped off his life-raft he lost count…how many times he probably actually fainted on it he could no longer remember. And yet, the King of Ithaca endured…in strength that he had no idea he had. It was as if both his body and spirit had decided he had a duty to survive. He survived the agony and pain as well as the anxiety and fear every time something touched his foot beneath the waves or a passing fish would bite his legs. He had long stopped feeling much." (From Part 1)

"Therewith the worst came; a thunderbolt stroke the ship and the sudden flash and tremendous sound left them all blind and deaf. Odysseus screamed in pain shielding his ears. The ship cracked from side to side down in the middle; splintering in the winds like it was a pile of leaves." (From Part 1) => [This moment more graphically described by Odysseus himself in 12th rhapsody]

There all his goodly companions perished and the winds and waves brought him here!

(Translation by me)

"By night before the tenth day of his painful journey he had collapsed. He didn’t feel the sand beneath his body as his raft finally beached at a sandy beach. He didn’t move as some crab or beach beetle walked over his sea-beaten body. By dawn some hints of his consciousness returned. It was only for a brief second that the rays of sun touched his salt-crusted cheek but Odysseus saw or at least he thought he saw a tall slender figure picking something up from the beach many meters away from him (maybe a seashell). The figure turned towards him and walked there. And then everything turned black…" (From Part 1)

"He yelled till his throat was sore…till his voice was gone…he sobbed and cried tears almost as plenty as the waves of the sea. The storm was roaming around him… There was no one there to hear his lament… His voice was carried around by the wind…his tears were washed away by sea and rain…His body was borne by the direful winds… Six hundred men had started that fateful journey… Now there was only one… Now he was alone." (From Part 1)

I took him in with care and love and gave him food, I even told him I would make him immortal and ageless for all eternity!

(Translation by me)

"She slid her arm behind his back and half-raised him with unexpected strength, bringing the goblet to his lips. As the liquid touched those thirsty, dry lips, Odysseus gained strength anew to his arms; the type of strength you get when you need to survive. He greedily downed sips from the drink and aimed to hold it with his weak, shaking hands. He tasted the sweetest drink he ever thought he would taste; it was sweeter than honey, smoother than wine. It was all the tastes he ever knew and none at the same time. He coughed as the drink went down the wrong way but he drank more ignoring some that escaped his lips and down the thick layer of curly hair that adorned his wide chest. He was thirsty! He was thirsty to the point of madness!" (From Part 2)

"“My maids shall bring you some food, Odysseus. I believe you are strong enough to eat now. Nectar and potions we created should allow you to heal to that point” “I am grateful, beautiful goddess…” “Rest and regain your strength first” Calypso advised sweetly, “The rest shall come…”" (From Part 2)

"The weeks passed and Odysseus was indeed trying his best to keep himself in good condition. A few days more and he could walk about Calypso’s grotto without any problems and soon he felt gaining his old strength back. Eventually he got out of the grotto and got to explore the isle around and know his surroundings. Under the tender care of Calypso and her maids, Odysseus felt like finding himself again. He gained the weight he lost by his cruel misadventures and managed to built his previous physical strength." (From Part 2)

"“You nearly lost your life out there, darling… Why must you torment yourself over them? Why must your heart always mourn? Forget about this…mortal coil. Stay here with me…stay and rest, finally, Odysseus… You shall not want of anything here… I could offer you the gift of immortality… Never shall you fear sickness or death again! Never shall you find yourself in the same pitiful state that you were when you first showed up at my doors! You shall be my equal! All you need to do is ask…” (From Part 3) => [also remembering the first rhapsodies how Athena says t the council of the gods that Calypso aims to make him forget his homeland]

***

So yeah... I tried my best to follow the Odyssey but of cource details filled in by me! For those interested the three parts of this story are here!

Part 1

Part 2

Part 3

And of course viewe's discression is advised given the hard hemes it includes (yes it includes the mention of SA so yeah...sad and dark stuff)

My Calypso fanart based on my story

My Odysseus fanart based on my stories

[calabria-mediterranea]

Sirens of Greek Myth Were Bird-Women, Not Mermaids

Bottle-askos in the shape of a siren (2nd half 6th century BC) from Locri / Southern Italy's Calabria. National Museum of Magna Graecia (Reggio Calabria, Italy).

In the wine-dark expanse of the Mediterranean Sea, far from the halls of civilization, there was once a small island—or so Homer, the famed poet of Ancient Greece, wrote in his epic The Odyssey. No buildings occupied its flowery meadows; no fisherman worked its shores. Those who passed in their black ships heard only voices, twining over the windless waves, singing a song that promised knowledge of all things. Once they heard it, they were enchanted; they had no choice but to land and seek out the singers. Those who did never left the island; their bodies remained, rotting amid the flowers, for none who heard the Sirens' song could escape it.

The story of the Sirens has inspired writers, poets, and artists for millennia. But somewhere along the way their form was confused. Today, Sirens are almost always represented as voluptuous mermaids, whose beauty and sexuality lure men to their deaths. But the Classical Greeks understood the Sirens differently: as bird-women, creatures that Mediterranean cultures traditionally associated with hidden knowledge.

Sirens first appear in the literary record with the Odyssey (written around 750 BCE) in a segment that’s much briefer than you’d think considering the cultural impact of these mystical, singing creatures. It goes like this: Odysseus, warned by the enchantress Circe of the danger posed by the Sirens’ song, orders his crew to stuff their ears with wax. But, curious to a fault, he has himself bound to the ship’s mast so he can listen without flinging himself into the sea. The Sirens promise him tales of all that had occurred during the war at Troy, and everywhere else besides; enchanted, he begs his crew to release him. He rants, raves, and threatens, but to no avail. His crew sails on until the song fades in the distance, and so saves his life.

Homer doesn’t describe the Sirens’ physical appearance in his epic poem, Wilson says. But in ceramic paintings and tomb sculptures from the time of writing, and centuries after, Sirens were usually depicted with taloned feet, feathered wings, and a beautiful human face. The bird-body of the Siren is significant to Wilson: In the eyes of traditional peoples all across Europe, birds were often graced with an otherworldliness associated with gods, spirits, and omens.

They inhabit the water, the air, and the earth. They’re also associated with song; they have voices that are not human voices, and kinds of movement that are not the same as human kinds of movement.

The Sirens’ role in tomb art is particularly telling. In ancient Mediterranean and Middle Eastern cultures—as far back as 7,000 years ago—birds were often depicted carrying spirits to the underworld. In Southern Italy's Calabria, archaeologists unearthed several Greek askos (unguentary vessel) in shape of sirens, most commonly found in tombs.

Bronze askos in the shape of a siren (5th century BC) from Crotone, Calabria, Italy - Archaeological Museum of Crotone.

Jump ahead a few millennia to 1,550 BCE, by which time Ba-birds, depictions of departing souls as human-faced birds, began appearing in Egypt. That connection between birds and dead souls seems to have then hopped over to Greece: Writing in the 5th century BCE, the playwright Euripides described the Sirens as at the beck and call of Persephone, one of the rulers of the underworld, while other writers identified the Sirens as rivals and dark echoes of the Muses, those goddesses of creativity.

These are the Sirens the Ancient Greeks would have recognized: bird creatures of the underworld, bridging the human world and what lies beyond. The Sirens—and their fateful songs—then offered a glimpse behind the veil, a chance to hear how earthly glories would echo in eternity. The question of what song the Sirens sing, what is this forbidden knowledge, what's wrong with it, what's the temptation—the text leaves a lot of open space there. Therein lies the seduction.

Yet today, mermaids or beautiful sea nymphs replace the dark, winged Sirens of ancient times.

It is during the Middle Ages that the image of the siren began its shift from bird-woman to mermaid . With the transformation of the siren's image, the attributes associated with female monsters shifted. This suggests a change in the traits that were considered monstrous in women. The siren's movement from a frightening bird-woman to a beautiful mermaid represents female beauty becoming monstrous. Throughout the Middle Ages sirens increasingly represented a male fear of female seduction, suggesting a growing fear of female sexuality.

For medieval Christians, sirens were heavily associated with female sin.

However it happened, the identification of Sirens with mermaids seems to have affected later translations of the Odyssey, and ultimately common knowledge of Sirens. Translators in the 19th and 20th centuries cast the Sirens in a sexualized light. In one prose translation, the Sirens speak of “the sweet voice from our lips,” despite the word στομάτων directly translating to the less sensual “mouths.” Another adds flowery descriptors of “each purling note/like honey twining/from our lips.” But unlike the Odyssey’s other island temptresses, Circe and Calypso, the Sirens get no admiring description of their faces or hair. Only their voice is described, and their field of bones and flowers.

That’s a pretty strong indicator that the Sirens are not meant to be read as offering a sexual temptation. You can kiss lips; mouths devour.

Folklore and mythology move on, given enough time. Today, the Siren is just another word for mermaid, and is likely to remain so. But there’s something richly thematic about the Sirens of Classical Greece that deserves to be remembered: in-between creatures on a lonely island, floating between the boundaries of life and death, and offering an irresistible song of both. Water-temptresses are a dime a dozen; the Sirens offer wisdom.

Follow us on Instagram, @calabria_mediterranea

[dionysism]

hello new mutual!! delighted to be mutuals with you, love your blog <3 i was wondering if you had any favorite scenes or lines from the Homeric epics that really stick with you or resonate?? have a great day <33

hello!! delighted to be mutuals with you too :)

i love this question!! tried to really cherry pick my favs or this would be quite a long post so here we go 😭

from the iliad:

- the "ah, father zeus, athene and apollo, if only no trojan could get away alive, not one, and no greek either, and we two could survive the massacre to tear off troy's holy diadem 100 of towers single-handed!" from achilles when he tells patroclus he wishes they could conquer troy just the two of them

- that whole scene where thetis comes to achilles after patroclus' death but especially "my child— why in tears? what sorrow has touched your heart?" i really love thetis and her relationship with achilles. it is just so. tragic

- "yes, my friend, you die too. why make such a song about it? even patroclus died, who was a better man than you by far."

- "as fire from the skies rages through deep gullies on a scorched mountain-side, a great forest is consumed and everywhere a driving wind sends the flames billowing, so achilles ran amok with his spear like something superhuman, killing as he went, and the black earth ran with blood." one of my all time fav quotes from my rieu translation

from the odyssey:

- the whole scene where telemachus visits menelaus and helen in sparta is a personal fav of mine because 1. everything menelaus said about odysseus was so heartbreaking he really loved that man ("his destiny was suffering and mine the endless pain of missing him" from wilson and "nothing could have parted us, bound by love for eachother, mutual delight, till death's dark cloud came shrouding round us both" from fagles) and 2. it was also hilarious because helen drugged the wine?:$:?/? and her and menelaus clearly have unresolved tension from the war. meanwhile telemachus there like 🧍

- when odysseus returns home and is greeted by his people ohhh this touches my heart so dearly. his people truly loved him and he truly loved them. "flocking out of their quarters torch in hand they embraced odysseus in welcome, and took and kissed his shoulders, head and hands. a sweet longing came on him to weep and sob, as he remembered them every one."

- the odysseus and penelope reunion, of course. my favorite of all. odysseus being like "haha my beloved wife you won't talk to me while i'm in dirty rags i see how it is" and then athena making him look extra gorgeous and the entire exhange that follows. "what a strange woman you are!" "what a strange man you are!" then her doing the olive bed trick and telling eurycleia to pull the bed out and odysseus replying "lady! your words are a knife in my heart! who has moved my bed!" and them him explaining the whole of how he built the bed and penelope bursting into tears and they embrace but ohhhh rieu again (if you couldn't tell hes my fav) with the "it was like the moment when the blissful land is seen by struggling sailors, whose fine ship poseidon has battered with wind and wave and smashed on the high seas. a few swim safely to the mainland out of the foaming surf, their bodies caked with brine; and blissfully they tread on solid land, saved from disaster. it was bliss like that for penelope to see her husband once again. her white arms round his neck never quite let go." just beautifully put but also the likening of penelope's joy to see him again specifically to that of a sailor finally making to land again after a hard and painful journey like oh the odyssey was truly just as painful for penelope as it was for odysseus i'm SICK!

[dootznbootz]

I went on tiktok to just watch some silly Odysseus videos but then I mostly saw people going like "Yeah, maybe Odysseus cried on Calypso' island every day but honestly he had that coming after what he did Achilles and Patroclous/Circe!!!" and "Everything that happens in Odyssey is deserved cuz he took Patrochilles to war!!!" and "I feel so bad for Circe and Calypso and Penelope, they deserved better!!!"

For fucks sake I beg you, read anything different from Millers bs and like educate yourself- And please stop goddamn saying that rape victim. deserved it.

Circe probably didn't give a flying fuck, Calypso is a rapist and abuser and Penelope deserved everything she wanted and SHE WANTED ODYSSEUS

I think I've had enough internet for today, imma go wash my eyes with bleach. Anyways sorry for ranting here, i hope you don't mind it lmao

It's alright. I absolutely understand the vents about the whole thing. :'D No one deserves to be a victim of such a thing no matter WHAT they've done. I hope your eyes are okay after the bleach

Like Odysseus does so many fucked up things but Calypso and Circe? He is the victim. Period. It's very clear that Odysseus is in extreme distress on Ogygia. And Circe wasn't some sort of FwB situation. There's fear and numbness in the language he uses when talking about it. There's so much victim blaming and it SUCKS.

Even then, Odysseus' journey was kind of about "temptation" or just straight up "Die or get out of my sea." From Poseidon. "I don't want you in my waters so I'm gonna try and give you things that will keep you on land or just kill you."

Immortal goddesses wanting you would be many people's dream come true but not for Odysseus. And I think that's the point. His determination, how he clawed his way back into the arms he never wanted to leave in the first place, is incredible. Many people would've given up and just started a new life but he never would because no life he could ever create would compare to the life he had before. Even if it's different, it's what he's always wanted.

He literally tells Calypso "I'm not stopping until I'm home. I don't care if I suffer more until I do. I'm going home."

“Mighty goddess, do not be angry with me over this. I myself know very well Penelope, although intelligent, is not your match                                          to look at, not in stature or in beauty. But she’s a human being and you’re a god. You’ll never die or age. But still I wish, every moment to get back to my home,                                                       to see the day of my return. And so, even if out there on the wine-dark sea some god breaks me apart, I will go on— the heart here in my chest is quite prepared to bear affliction. I’ve already had so many troubles, and I’ve worked so hard                                  through waves and warfare. Let what’s yet to come be added in with those.”

(Book 5, Johnston)

Circe's a goddess and what happened is nothing like Dionysus and Ariadne and Apollo and Hyacinthus for example. Circe never gave Odysseus a crown of stars and he would never go out of his way to kill 120 people for bothering her. They did not love each other and he can't refuse as she's a goddess.

If you interpret them sleeping together the entire year,(It's only explicitly said that they had sex once so that's what I go with personally.) that doesn't mean he was happy with it! Even then, the whole situation is not what a healthy FwB should look like! I'm asexual and even I know that no one in a FwB situation should have to BEG in any way that basically says "Please let me go or kill me" with supplication!!! The fact that he leaves so quickly he forgets one of his men? The fact that during Elpenor's funeral, he doesn't greet Circe himself? He was avoiding her. Wouldn't he want to get "one last night together" during Book 12 if they were fwb? 🙄

It's bonkers to me that people hate him for being a "cheater" when A.) having multiple lovers wasn't uncommon in Ancient Greece, and B.) the two people he is explicitly said to have "cheated" with, weren't his choice. He wasn't actively searching for pretty women either!!!

As mentioned, while it was common for men to have many lovers, Odysseus never had any listed unlike some of the other men. (not bashing any of them. I'm just making a point in comparison.) He also has no other children besides Telemachus in Homer's works. There's no evidence of him having other lovers other than speculation. (funny enough, I once read somewhere that the reason why Odysseus is so mean is because he doesn't "bond" enough with the other soldiers. 😂)

Does that mean he didn't have other lovers? Technically, Nope! It's just never explicitly stated either way. He has slaves but none were ever said to be concubines or that he sleeps with them. He has deep bonds with his fellow soldiers but that doesn't mean he sleeps with them. That doesn't mean people can't write or talk about him doing so even though it's not mentioned! Just like it also means that someone can write him not doing so as there's nothing that says it either way in Homer's Works! :D

It's fucked up when people say "He didn't try to leave Calypso enough" or something of the like. It just tells you how A.) they didn't read the Odyssey or have piss on the poor reading comprehension or B.) ...you should probably stay away from that person...

With Circe though??? I can understand the confusion but digging deeper and looking at the text, he wasn't having a good time. Or at the very least was walking on Eggshells the whole time. I hate bringing up that essay over and over again but like...I literally wrote everything there.

I also don't like how people take Circe's morally gray-ness away from her. Let her do something fucked up to be fucked up!!! Let her traumatize Odysseus!

Idk, I kind of hate that I'm "known" for this but I relate to this idiot asshole a lot and it means a lot to me that his story, despite what happens to him, has a happy ending :'D

[theoihalioistuff]

Natural 'Love Remedies' in the lanscapes of ancient greek myths. Part I: The White Rock

Sorry for the long post in advance, there are too many references and too much scholarly discussion to make a short snappy post. I abridged as much as I could :)

The White Rock is first mentioned in passing in the Odyssey, as part of the westward journey that the shades of the suitors undertake as they're led to to the underworld:

And they passed by the streams of Okeanos and the White Rock [Λευκάδα πέτρην] and past the Gates of the Sun and the District of Dreams. (Od. 24. 11-12)

This passage has at first glance little thematic relevance to the rest of the attestations to come (if you're interested in theories see further reading below), but I'd be remiss not to mention this first source for a "White Rock". The rest or these sources refer specifically to the White Rock of the island of Leukas (the Leukadian Rock), which was said to have the property of relieving the lovesick from their passion. According to Menander (in Fragment 258 quoted in Stabo's Geography):

It contains the temple of Apollo Leucatas, and also the 'Leap', which was believed to put an end to the longings of love. As Menander says, "Where Sappho is said to have been the first, when through frantic longing she was chasing the haughty Phaon, to fling herself with a leap from the far-seen rock, calling upon thee in prayer, O lord and master". Now although Menander says that Sappho was the first to take the leap, those who are better versed than he in antiquities say that it was Cephalus, the son of Deïoneus, who was in love with Pterelas. (Strab. 10.2.9)

Strabo is presumably quoting Menander's lost play The Leukadia. Unrelated to love but still interesting, Strabo continues:

It was an ancestral custom among the Leucadians, every year at the sacrifice performed in honor of Apollo, for some criminal to be flung from this rocky look-out for the sake of averting evil, wings and birds of all kinds being fastened to him, since by their fluttering they could lighten the leap, and also for a number of men, stationed all round below the rock in small fishing-boats, to take the victim in, and, when he had been taken on board* (alternatively: resuscitated), to do all in their power to get him safely outside their borders. (Strab. 10.2.9 continued) ~~ This might be seen as somewhat paralleling Pausanias 10.32.6 for those who are curious.

According to Wilamowitz 1913 (again see further reading below), Menander chose for his play a setting that was known for its exotic cult practice involving a white rock, and conflated it in the quoted passage with a literary theme likewise involving a white rock. There are two surviving attestations of this theme, in which falling off the white rock is apparently a metaphor for fainting (due to lust and wine respectively):

One more time taking off in the air, down from the White Rock into the dark waves do I dive, intoxicated with lust. (Anacreon PMG 370)

I would be crazy not to give all the herds of the Cyclopes in return for drinking one cup [of that wine] and throw myself from the White Rock into the brine, once I am intoxicated, with eyebrows relaxed. Whoever is not happy when he drinks is crazy. (Euripides Cyclops 163-168)

Sappho's legendary (and unfortunately fatal) leap off the Leucadian Rock to relieve herself of her love for the handsome Phaon (a figure that deserves a post of their own) is found also in Ovid's Heroines:

Here, when, weeping, I laid down my weary limbs, a Naiad stood before my eyes. She stood there and said: ‘Since you burn with the fires of injustice, Ambracia’s the land to be sought by you. Apollo on the heights watches the open sea: summoning the people of Actium and Leucadia. Here Deucalion, fired by love of Pyrrha, cast himself down and struck the sea without harming his body. Without delay love turned and fled from his slowly sinking breast: Deucalion was eased of his passion. The place obeys that law. Seek out the Leucadian height right away, and don’t be afraid to leap from the rock! (Ov. Her. 15. 165–220)

Finally, according to the mythographer Ptolemy Chennos (know for his bizarre stories) as quoted by Photius in his Library:

Those who leapt off the cliff are said to have freed themselves from erotic desire. And this is the story that lies behind it: it is said that, after the death of Adonis, Aphrodite wandered about in search of him until she found him in the city of Argos in Cyprus in the sanctuary of Apollo Erithios. She carried him away [for a funeral], having told Apollo about her love for Adonis. Apollo took her to the Leucadic Rock and ordered her to jump off the cliff. As she leapt, she freed herself of her love. They say that when she inquired about the reason, Apollo replied that as a seer he knew that whenever Zeus felt desire for Hera, he would come to the rock, sit there and free himself from the desire. Many other men and women who suffered from lovesickness got rid of it when they jumped off that cliff. (Photius Bibliotheca. 152-153. Bekker)

What follows is a long list of people who are said to have jumped off said cliff, some surviving while others not (in any case, quite darkly, all were relieved of their passions). Notably Sappho, the most celebrated leaper, is not mentioned.

The fact that Zeus is mentioned as only sitting on the rock and not hurling himself from it is interesting. Nagy 1990 (see below) notes the similarities between the Leucadic Rock and the "proverbially white" Thoríkios pétros ‘Leap Rock’ of Attic Kolonos (Sophocles Oedipus at Colonus). He also notes the double etymology of "Thoríkios" as derivable from the noun thorós ‘semen’ (e.g. Herodotus 2.93.1) as well as of the verb thrṓiskō ‘leap’ (which can also have the side-meaning ‘mount, fecundate’ e.g. Aeschylus Eumenides 600), and connects it with one of the myths that is said to have taken place on this mountain:

Others say that, in the vicinity of the rocks at Athenian Kolonos, he [Poseidon], falling asleep, had an emission of semen, and a horse Skúphios came out, who is also called Skīrōnítēs. (Scholia to Lycophron 766)

Poseidon Petraîos [= of the rocks] has a cult among the Thessalians … because he, having fallen asleep at some rock, had an emission of semen; and the earth, receiving the semen, produced the first horse, whom they called Skúphios. (Scholia tο Pindar Pythian 4.246)

According to Bednarek 2019 (see below), in view of Ptolemy’s humorous intentions in his collection of weird narratives, the story becomes a sort of "sophomoric riddle": What cure does Zeus have to administer "repeatedly" (εὶ ἐρῶν … ἐκαθέζετο καὶ ἀνεπαύετο), while sitting down, presumably alone and in secrecy, that clearly only provides a temporary relief, and provides an aitiological name for the White Rock, to free himself from his desire?

All this long-winded post just to make a fucking joke about Zeus having a wank. Worth it.

~~ Cape Lefkatas

Secondary Sources and Futher Reading (these are only the ones I mentioned in this post, apparently there's a lot to say on the subject):

Greek Mythology and Poetics, Gregory Nagy 1990. Ch. 9. Phaethon, Sappho’s Phaon, and the White Rock of Leukas: “Reading” the Symbols of Greek Lyric. https://chs.harvard.edu/chapter/chapter-9-phaethon-sapphos-phaon-and-the-white-rock-of-leukas-reading-the-symbols-of-greek-lyric-pp-223-262/

Levaniouk, Olga. 2011. Eve of the Festival: Making Myth in Odyssey 19. Hellenic Studies Series 46. Washington, DC: Center for Hellenic Studies https://chs.harvard.edu/chapter/17-penelope-and-the-penelops/

Bednarek, Bartłomiej. “Zeus on the Leucadic Rock. White magic of an obscene passage in Ptolemy Chennos.” Acta Classica 62 (2019): 219–27. https://www.jstor.org/stable/26945053.

Sappho und Simonides, Untersuchungen über griechische Lyriker by Wilamowitz-Moellendorff, 1913

[patritxi]

Jonsa Greek Mythology AU

Jon Snow and Sansa Stark as Odysseus and Penelope from The Odyssey

"Nevertheless I long – I pine, all my days – to travel home and see the dawn of my return. And if a god will wreck me yet again on the wine-dark sea, I can bear that too, with a spirit tempered to endure. Much have I suffered, labored long and hard by now in the waves and wars. Add this to the total – bring the trial on!"

Homer's The Odyssey

[penguins-united]

Books read in 2022!!

rereads are italicized, favorites are bolded

1. Harry Potter and the Goblet of Fire by JK Rowling

2. Boxers by Gene Luen Yang

3. Saints by Gene Luen Yang

4. The Maltese Falcon by Dashiell Hammett

5. The Murder of Roger Ackroyd by Agatha Christie

6. Immortal Poems of the English Language by Oscar Williams

7. Soldier’s Home by Ernest Hemingway

8. Shadow and Bone by Leigh Bardugo

9. Harry Potter and the order of the phoenix by JK Rowling

10. The Dead by James Joyce

11. Soldiers Three by Richard Kipling

12. The Hidden Life of Trees by Peter Wohlleben

13. Richard iii by William Shakespeare

14. Balcony of Fog by Rich Shapiro

15. All Systems Red by Martha Wells

16. Artificial Condition by Martha Wells

17. I have no mouth and I must scream by Harlan Ellison

18. Siege and Storm by Leigh Bardugo

19. The moment before the gun went off by Nadine Gordimer

20. The importance of being earnest by Oscar Wilde

21. A farewell to arms by Ernest Hemingway

22. Rogue Protocol by Martha Wells

23. Rules for a knight by Ethan Hawke

24. Harry Potter and the Half Blood Prince by JK Rowling

25. The Secret History by Donna Tartt

26. Harry Potter and the Deathly Hallows by JK Rowling

27. Gerard Manley Hopkins: The Major Poems by Gerard Manley Hopkins

28. Highly Irregular by Arika Okrent

29. The Green Mile by Stephen King

30. The Swan Riders by Erin Bow

31. The King’s English by Henry Watson Fowler

32. The Truelove by Patrick O’Brian

33. The Glass Key by Dashiell Hammett

34. The Wine-Dark Sea by Patrick O’Brian

35. The Commodore by Patrick O’Brian

36. An Old-Fashioned Girl by Louisa May Alcott

37. Long Day’s Journey Into Night by Eugene O’Neill

38. The Disaster Area by JG Ballard

39. The Tacit Dimension by Michael Polanyi

40. Wicked Saints by Emily A Duncan

41. The Pillowman by Martin McDonagh

42. The Thief by Megan Whalen Turner

43. The Goldfinch by Donna Tartt

44. The Queen of Attolia by Megan Whalen Turner

45. Exit Strategy by Martha Wells

46. The King of Attolia by Megan Whalen Turner

47. A Conspiracy of Kings by Megan Whalen Turner

48. Thick as Thieves by Megan Whalen Turner

49. Return of the Thief by Megan Whalen Turner

50. Cat’s Cradle by Kurt Vonnegut

51. Confessions of St. Augustine by St. Augustine of Hippo

52. Little Lord Fauntleroy by Frances Hodgson Burnett

53. The Yellow Admiral by Patrick O’Brian

54. Bad Pharma by Ben Goldacre

55. The Russian Assassin by Jack Arbor

56. The ones who walk away from Omelas by Ursula K LeGuin

57. Captains Courageous by Rudyard Kipling

58. The Iliad by Homer

59. The Treadstone Transgression by Joshua Hood

60. The Hundred Days by Patrick O’Brian

61. Rosencrantz and Guildenstern are dead by Tom Stoppard

62. The Myth of Sisyphus by Albert Camus

63. Waiting for Godot by Samuel Beckett

64. Sir Gawain and the Green Knight, the Pearl, and Sir Orfeo (unknown)

65. Persuasion by Jane Austen

66. The Outsiders by SE Hinton

67. Bartleby the Scrivener by Herman Melville

68. The Odyssey by Homer

69. Dead Cert by Dick Francis

70. The Oresteia by Aeschylus

71. The Network Effect by Martha Wells

72. All Art is Propaganda: Critical Essays by George Orwell

73. This is how you lose the time war by Amal El-Mohtar

74. The Epic of Gilgamesh (unknown author)

75. The Republic by Plato

76. Oedipus Rex by Sophocles

77. On the Genealogy of Morals by Friedrich Nietzsche

78. Ere the Cock Crows by Jens Bjornboe

79. Mid-Bloom by Katie Budris

80. Blue at the Mizzen by Patrick O’Brian

81. 21 by Patrick O’Brian

82. To Kill a Mockingbird by Harper Lee

83. Battle Cry by Leon Uris

84. Devils by Fyodor Dostoevsky

85. The Uncanny by Sigmund Freud

86. The Door in the Wall by HG Wells

87. Oh Whistle and I’ll Come to You My Lad by MR James

88. The Birds and Don’t Look Now by Daphne Du Maurier

89. The Weird and the Eerie by Mark Fisher

90. Blackout by Simon Scarrow

91. In Cold Blood by Truman Capote

92. No Exit and Three Other Plays by Jean-Paul Sartre

93. The Open Society and its Enemies volume one by Karl Popper

94. Mother Night by Kurt Vonnegut

95. The Ethics of Ambiguity by Simone de Beauvoir

96. The Cue for Treason by Geoffrey Trease

97. The things they carried by Tim O’Brien

98. A very very very dark matter by Martin McDonagh

99. The Road to Serfdom by Friedrich A Hayek

100. The Lonesome West by Martin McDonagh

101. A Skull in Connemara by Martin McDonagh

102. The Beauty Queen of Leenane by Martin McDonagh

103. Beyond Good and Evil by Friedrich Nietzsche

104. The Power and the Glory by Graham Greene

105. The Shepherd by Frederick Forsyth

106. Things have gotten worse since we last spoke and other misfortunes by Eric LaRocca

107. Each thing I show you is a piece of my death by Gemma Files

108. Different Seasons by Stephen King

109. Dracula by Bram Stoker

110. Inker and Crown by Megan O’Russell

111. Out of the Silent Planet by CS Lewis

112. Killers by Patrick Hodges

113. The Game of Kings by Dorothy Dunnett

114. The Rise and Reign of Mammals by Stephen Brusatte

115. Any Means Necessary by Jack Mars

116. The Birth of Tragedy by Friedrich Nietzsche

117. In A Glass Darkly by J Sheridan le Fanu

118. Collected Poems by Edward Thomas

119. The Longer Poems by TS Eliot

120. Harry Potter and the Sorcerer’s Stone

121. The Elegant Universe by Brian Greene

122. The Antichrist by Friedrich Nietzsche

123. Choice of George Herbert’s verse by George Herbert

[counttwinkula]

listen i'm no classicist or linguist or any kind of expert really but like

what if we're all asking the wrong questions about homer's "wine-dark sea"

there's all these arguments about color, whether homer had a word for blue or whether the sea looks red or violet

but like. what if we're talking about opacity? what if he's alluding to the murky depths, painting the picture that the sea—which is a powerful, unpredictable, unknowable, unnavigable, antagonistic force throughout the narrative—is dark, as in it's occluded and prevents odysseus from seeing through it

i think that wine would be a fitting comparison for those reasons

(and that's not even to mention the ways alcohol may reflect the above stated qualities of the sea in the odyssey)

[dark-raven-feathers]

(Part One) A list of every dark academia-esque piece and arrangement I could find, only some of which I've actually played (this will be very long):

Once more unto the breach: 1. At the speed of dark, Stephen Melillo: Capturing the vibe of a dark, empty ocean and the fleeting sense of terror and panic, the piece features a very prominent clarinet solo and the brief thought that maybe you should start running. (YouTube only)

K2: The savage mountain, Julie Giroux: Inspired by the mountain peaks of the very same name, the piece follows the story of a group of unnamed climbers battling the peaks of one of the most dangerous mountains in the world. Most of them die at the mountain's infamous Bottleneck, showcased cleverly by a slow trombone glissando, and the ones who do make it are changed forever. (YouTube only)

The Witch and the Saint, Steven Reineke: Starting itself off with a motif very similar to a Gregorian-style chant, The Witch and the Saint is a German story of two sisters, both born with the third sight. One is revered as a saint, and the other is shunned as a witch. As the piece progresses, the witch is burned at the stake, only to be saved by her sister. Endings vary greatly, but the most agreed upon is that at the end, both sisters die of different causes. Meant to capture the spirit of misunderstood women through the witch hunts of the 1600s, the piece does great justice to Ulrike Schweikert's story. (YouTube and Spotify)

Ghost Dances (Wounded Knee, 1890), Roland Barrett: In 1890, a massacre of the Lakota Sioux at Wounded Knee shattered the hopes of the Indigenous Plains tribes who had attempted to take back their lives through a religious movement in the American West, appropriately called the Ghost Dance. Approximately 300 Indigenous peoples died that day, at the hands of American soldiers. (YouTube only)

Fate of the Gods, Steven Reineke: Taking its name from Nordic mythology, the piece describes Ragnarok, with the lows introducing the battle between Good and Evil. Good invariably triumphs, bringing about a new age for the world, resetting the ruined cosmos to what it used to be. (YouTube and Spotify)

A ship in the mist, Rossano Galante: Meant to sound exactly like what the title suggests, the piece takes both players and listeners on a journey through the waters with a sea shanty-like rhythm, as the start mimics a ships call to depart from shore. (YouTube only)

Rapture, Brian Balmages: Naming itself after the events in the Bible, Rapture captures the scene of the clouds opening up to let people through the gates of Heaven through the hymn "Lo! He comes with the Clouds Descending". (YouTube only)

Danse Bacchanale, Camille Saint-saens: A DA classic, Danse Bacchanale comes from the opera "Samson et Delilah", straight from the scene in which Delilah, hoping to taunt Samson, leads a wild and drunken party, opening with an oboe theme that seems to almost mock the listeners. (YouTube and Spotify)

Lux Aurumque, Eric Whitacre: Written first as a choral piece, then arranged for winds, Lux Arumque is based on a Latin poem of the same name. Roughly translating to "Light and Gold" (Or "Light of Gold), the piece gives off a transcending, space-like vibe, capturing the essence of light, life, and death. (YouTube and Spotify)

The Odyssey, Robert W. Smith: Starting at the Illiad's calls to war, the piece's uniqueness comes from its ability to portray fires, arrows firing, and even swordfights without the use of sfx. Capturing both the intense voyage across the sea and Calypso's mourning of the loss of her only escape, the piece heavily favors the recorder, occasionally replaced with the flute, and is the exact opposite of John Mackey's translation of the same story. (YouTube only)

Wine Dark Sea (Mvmts I, II, and III), John Mackey: Taking a darker look at the Odyssey, and the polar opposite of Robert W. Smith's translation, John Mackey captures Odysseus' disorientation upon being thrown by the waves through the first movement, "Hubris", with a dissonant-sounding ship's horn. The second movement, "Immortal thread, so weak", switches to Calypso as she watches Odysseus sail away from her island, with no promises of returning to save her. Finally, the third movement "The attention of souls" sees Odysseus' trouble navigating the waters back home, with Poseidon's wrath hot on his heels. (YouTube and Spotify, Spotify separates the three movements)

Into the Storm, Robert W. Smith: In 1993, a great blizzard covered much of the United States. Robert W. Smith takes this event and puts it into a piece some musicians have described as "Tempest, but on drugs". Capturing some of the desperation felt as people were trapped outside of their homes, watching buildings around them fall, there's a slight melancholic aftertaste to the piece as people attempt to re-build their lives around themselves. (YouTube and Spotify)

Down by the Salley Gardens, Michael Sweeny: An Irish poem originally published by William Butler Yeats, it was first adapted into a choral ballad before being turned into a concert arrangement. A careful warning to foolish young girls, the piece is tinged with a haunting, sorrowful tone. (YouTube and Spotify)

Down in the River, Jay Bocook: Before it was made into a Christian hymn, "The Good Old way" was sung by African-American slaves as a message to escape. Just like cornrows were in fact, paths to freedom, the original song tells the escapers to head to the river, as the water would mask their scent from bounty dogs, disguised as a simple description of baptism. (YouTube only)

The Divine Comedy, Robert W. Smith: A four-movement piece inspired by Dante's poem of the same name, listeners are taken through the firey depths of Hell (Movement one: The Inferno) before seeing the Sins of Man (Movement two: Purgatorio). The piece then travels up a sheer rockface up to heaven (Movement three: The Ascension) before reuniting with lost loved ones (Movement four: Paradiso). Musicians are let loose with the screaming of tortured souls, the moans of death, and ominous chanting. (YouTube and Spotify, Spotify separates the four movements and it is also not entirely under Robert's name)

Ludlow (April 1914), Roland Barrett: In 1913, poor coal workers took part in the Colorado Coalfield war, striking against poor wages and work conditions. This eventually set forth the events of the Ludlow Massacre of April 1914, as soldiers took it upon themselves to torch the temporary encampments the coal workers and their families were living in. Eleven children and two women died in a fiery blaze, sparking a Nation-wide protest. Starting off with the rising tensions of the two sides into the war, followed by the mourning of the dead, the piece finishes off by taking a look at the rest of the country, leaving listeners hanging as it fades into the end of the Colorado Coalfield strike. (YouTube only)

Extraordinary Machines of Clockwork and Steam, Scott Watson: A much more whimsical piece, listeners are taken back in time to the age of Victorian Steampunk. Taking inspiration from the works of Jules Verne, H. G. Wells, and other famous authors, musicians mimic the huffs of steam coming from steam-powered trains, time travel (through the use of a sound some may recognize from pre-2000 cartoons), gears grinding against one another, and a limitless, fascinating view of the world. (YouTube only)

Links to the pieces, in order (Red for YT, Green for Spotify):

Once more unto the breach K2 The witch and the Saint The witch and the Saint Ghost Dances (Wounded Knee, 1890) Fate of the Gods Fate of the Gods A ship in the mist Rapture Danse Bacchanale Danse Bacchanale Lux Aurumque Lux Aurumque The Odyssey Wine Dark Sea Movement I: Hubris Movement II: Immortal thread, so weak Movement III: The Attention of Souls

Into the Storm Into the Storm

Down by the Salley Gardens Down by the Salley Gardens

Down in the River

The Divine Comedy Movement One: The Inferno Movement Two: Purgatorio Movement Three: The Ascension Movement Four: Paradiso

Ludlow (April 1914) Extraordinary Machines of Clockwork and Steam

[andrewbardsley]

Embark on a timeless journey through

"Embark on a timeless journey through ""HERODOTUS BOOK II. THE THIRD BOOK OF THE HISTORIES, CALLED THALEIA: HERODOTUS (The Chronicles of Empires and Legends)"" by M. A. Bards, available now on Kindle. Dive into the world of Herodotus, the Father of History, who traversed ancient empires, documenting the sagas of gods and mortals. This third book is your portal to the past, where you'll sail across the wine-dark seas, scale the mountains of Persia, and wander through the sands of Egypt. Experience the stories that shaped humanity: the rise and fall of great empires, the deeds of heroes, and the origins of civilizations. Guided by Thaleia, the Muse of History, ""HERODOTUS BOOK II"" is not just a book; it's an odyssey that reveals the rich tapestry of human history, woven from the threads of countless lives and legendary tales. Start your odyssey here: https://www.amazon.com/dp/B0CZ8QV9Y6  Embrace the adventure, and let history illuminate the paths of the present and future."

[scriptvinehub]

Elevate Your Tastes: A Journey into Howell Mountain Cabernet Sauvignon's Terroir

Embarking on a journey to explore the world of wine is like delving into an art form. Each bottle tells a story, and few narratives are as rich and captivating as that of Howell Mountain Cabernet Sauvignon. Nestled in the rugged terrain of Napa Valley, this exceptional wine encapsulates the essence of its terroir, offering a symphony of flavors that elevate the palate to new heights. Join us on this odyssey as we navigate the intricate tapestry of Howell Mountain Cabernet Sauvignon's terroir, where every sip is a step into the extraordinary.

The Majestic Terroir of Howell Mountain

Howell Mountain, standing tall at over 2,000 feet above sea level, boasts a terroir unlike any other. In the first section of our journey, we'll unravel the secrets of this majestic landscape and its influence on the grapes that make Howell Mountain Cabernet Sauvignon so unique. The mountain's volcanic soils, sun-kissed slopes, and cool microclimates work in harmony, creating an environment that imparts distinct characteristics to the grapes.

Within the embrace of Howell Mountain, the Cabernet Sauvignon grapes develop thick skins, intense flavors, and robust tannins. The elevation ensures cooler temperatures, allowing for a longer ripening period and preserving the natural acidity of the fruit. These factors converge to produce wines that are both powerful and elegant, a true reflection of the mountain's terroir.

Crafting Excellence: Howell Mountain Winemaking Traditions

Moving on to the second leg of our journey, we delve into the winemaking traditions that have been meticulously honed on Howell Mountain. The winemakers here are custodians of a legacy, respecting the terroir and employing techniques that enhance the intrinsic qualities of the grapes.

From hand-harvesting the grapes to the precise timing of fermentation and oak aging, every step is a dance with nature. The commitment to minimal intervention allows the terroir to express itself fully. Howell Mountain Cabernet Sauvignon, born from this dedication to craftsmanship, emerges as a testament to the symbiotic relationship between the land and those who cultivate it.

Tasting Notes: A Symphony of Flavors and Aromas

Our journey takes a delightful turn as we uncork a bottle of Howell Mountain Cabernet Sauvignon. In this section, we explore the tasting notes that make this wine a sensory masterpiece. The first sip reveals a symphony of dark fruit flavors, such as blackberry and cassis, dancing on the palate. The bold tannins, a signature of Howell Mountain wines, provide structure and depth, creating a robust and well-balanced experience.

Aromas of cedar, graphite, and hints of mountain herbs transport the drinker to the very slopes where the grapes basked in the California sun. As we savor each sip, it becomes evident that Howell Mountain Cabernet Sauvignon is not merely a beverage; it is an encounter with the essence of a unique terroir, an immersion into the soul of Napa Valley.

Howell Mountain Cabernet Sauvignon: A Versatile Culinary Companion

Our penultimate stop in this exploration focuses on the versatility of Howell Mountain Cabernet Sauvignon. Whether paired with a succulent steak, a rich chocolate dessert, or a variety of artisanal cheeses, this wine proves to be a culinary chameleon, enhancing the flavors of a wide array of dishes.

The boldness of the wine stands up to hearty meats, while its nuanced complexities complement the subtleties of fine cuisine. This versatility makes Howell Mountain Cabernet Sauvignon a must-have in any wine enthusiast's collection, as it seamlessly integrates into diverse dining experiences, elevating them to new heights.

Conclusion: Elevate Your Tastes with Howell Mountain Cabernet Sauvignon

In concluding our journey through the terroir, winemaking traditions, tasting notes, and culinary pairings of Howell Mountain Cabernet Sauvignon, we invite you to elevate your tastes and join the conversation at Handwritten Wines. Have you experienced the majesty of Howell Mountain Cabernet Sauvignon, or are you inspired to uncork a bottle after reading this journey through its terroir? Share your thoughts, tasting experiences, or favorite pairings in the comments below.

As we raise our glasses to the artistry of Howell Mountain winemaking, may your own journey into the world of wine be filled with exploration, discovery, and, of course, the exquisite flavors of Howell Mountain Cabernet Sauvignon. Cheers!

For more information and to explore our collection, visit Handwritten Wines or contact us at +1 707-944-8524.

[its-suanneschafer-author]

BOOK REVIEW: On Wine-Dark Seas by Tad Crawford

Few books are more deserving of a sequel than The Odyssey. In his new book, On Wine-Dark Seas: A Novel of Odysseus and His Fatherless Son Telemachus, Tad Crawford continues the story of The Odyssey from the point of view of Telemachus, Odysseus’s son. Telemachus tells his father’s story to the court bard, Phemios. The first chapters revisit the events of The Odyssey and show some of Telemachus’s…

[theatretrust]

Assassins creed odyssey

#Assassins creed odyssey series

#Assassins creed odyssey free

If ever I’m discovered, I put Kassandra’s considerable combat skills into action. I find stealthing to be a lot more fun than fighting, but the guard AIs are alert, and their positioning is often challenging to even the best stealth players. For those who take pleasure in outfoxing enemies, rather than slaying them, this can be done (with the right amount of skill and care) without alerting the guards, or by knocking them unconscious. But she’s also tasked with stealing some item of note, or releasing a prisoner. When Kassandra is presented with a military outpost, she is often given orders to kill senior officers and politicians. It’s up to me how far I lean in towards one or the other. Ubisoft Quebec/Ubisoft Your sword in its sheathĪs in all Assassin’s Creed games, stealth and murder are core activities. Kassandra banters with Socrates in Assassin’s Creed Odyssey. Her memories suggest a traumatic separation, and many unanswered questions. So begins her journey, as she searches for her real parents.

#Assassins creed odyssey free

She soon saves the life of a ship’s captain who offers her a free ride. He is kind and warm, having raised her since childhood abandonment, but his recklessness leads her into conflict with the local loan shark, a problem she deals with by kicking ass. We find Kassandra - youthful, ambitious, vigorous, frustrated - living on a remote island, helping her disreputable guardian as he embarks on yet another get-rich-quick scheme. There will be killingįor the first time in the series, I can play the entirety of the game either as a man (Alexios) or as a woman (Kassandra). If you want to see the very best of the best for your platform(s) of choice, check out Polygon Essentials. When we award a game the Polygon Recommends badge, it’s because we believe the title is uniquely thought-provoking, entertaining, inventive, or fun - and worth fitting into your schedule. Polygon Recommends is our way of endorsing our favorite games. Assassin’s Creed Odyssey is a deep, playful fantasy, in which we give ourselves over to another world.

#Assassins creed odyssey series

In this new game, the series has completed its twisty-turny trek from stealthy action adventure to fully-grown role-playing game. I think “odyssey” also refers to the meta-journey taken by Ubisoft, since the first Assassin’s Creed launched more than a decade ago. This too is true of the latest Assassin’s Creed, which presents us with a complex lead character, an authentic portrayal of a multifaceted person struggling with the agony of parental rejection, while living a life layered upon, rather than dedicated to, their own tragedy. The word “odyssey” also implies an expedition into self, a search not merely of secret islands, but of internal truths. And like The Odyssey, it’s long - really long. Like Homer’s tale of Odysseus, it’s an ancient Greek romp across adventure-strewn islands, sailing wine-dark seas on a journey home. When the Assassin’s Creed team decided to call this game Odyssey, it wasn’t fooling around.

[linguisticdiscovery]

1800s linguists explaining color terms in the Iliad and the Odyssey

The Homeric epics use a very small range of colors words (mainly just black and white), and in fact don't talk about color much at all. When Homer does use color terms, he often uses the same word to denote colors which we see as drastically different.

Homer writes things like "the wine-dark sea" and "the violet sea", but also calls black/brown oxen "wine-dark" and says that black sheep have "thick, violet wool". He also writes of faces "green with fear".

Because of the strange use of color terms, and the complete lack of basic color words like "blue" in the Homeric epics and other literature of the time, William Gladstone argued in 1858 that the ancient Greeks perceived the world in black and white.

Later scholars realized that the same strange lack of color terms happens in the Vedas and Biblical Hebrew. They formulated theories that humanity was either late in evolving the ability to detect the full range of colors, or underwent some sort of cultural revolution.

By the late 1800s, scholars also realized that many indigenous groups still living around the world also had a narrow range of color terms, and it became clear their they were perfectly capable of distinguishing colors—they simply didn't have names for various colors.

In 1969 Brent Berlin & Paul Kay published a book called "Basic color terms: Their universality and evolution" in which they found that languages develop the names for colors in a predictable order:

black + white > red > yellow > green > blue

(The above is a simplification of the actual progression.)

Put simply, over time languages shift from describing objects in terms of their lightness/darkness to describing objects in terms of their hue.

(Berlin & Kay were actually *re*discovering this pattern of development. Lazarus Geiger has presented the sequence of color term development in 1867, but his work was ignored by later anthropologists because it was couched in racist evolutionary anthropology.)

If you want to learn more about the interplay of language and concepts, an incredible book about this topic is Through the language glass: Why the world looks different in other languages by Guy Deutscher. It's also one of the best popular science books out there!