#Elissa of Carthage

[mask131]

About Tanit

I recently posted about how people should be looking more into other gods outside of the Greco-Roman pantheons. If you follow me for quite some times, you will also have noted I posted a bunch of loose translation from the French Dictionary of literary myths (which is truly a great reference). Well, I wanted to share with you today a loose translation – well, more of an info-mining at this point – of an article about a goddess that people often ignore the existence of, despite being located right next to Ancient Greece and Rome, and being involved in the history of the Roman Empire. And this goddess is Tanit.

Written by Ildiko Lorinszky, the article is organized in two – at first it takes a look and analysis at the mythological Tanit, at who and what she likely was, how her cult was organized all that. The second part, since it is a Dictionary of LITERARY myths, takes a look at the most prominent and famous depiction of Tanit in French literature – that is to say Flaubert’s famous Salammbô. (If you recalled, a long time ago I posted about how a journalist theorized in an article how Flaubert’s Salammbô was basically an “epic fantasy” novel a la Moorcock or Tolkien long before “fantasy” was even a genre)

Part 1: Tanit in mythology and archeology

Tanit was the patron-goddess of the city of Carthage. Considered to be one of the avatars o the Phoenician goddess Astarte, Tanit’s title, as found on several Punic engravings, was “The Face of Baal” – a qualification very close to how Astarte was called in Sidon and Ugarit “The Name of Baal”. These titles seem to indicate that these two goddesses acted as mediators or intermediaries between humanity and Baal.

Tanit is as such associated with Baal, the vegetation god, but sometimes she is his wife, other times she is simply his paredra (companion/female counterpart). She seems to be the female power accompanying the personification of masculinity that is Baal, and as such their relationship can evoke the one between Isis and Osiris: the youthful sap of the lunar goddess regularly regenerates the power of the god. This “nursing” or “nourishing” function of Tanit seems to have been highlighted by the title she received during the Roman era: the Ops, or the Nutrix, the “Nurse of Saturn”. Goddess of the strengthened earth, Tanit is deeply tied to agrarian rituals: her hierogamy with Baal reproduces in heaven the birth of seeds on earth. Within the sanctuaries of Tanit, men and women devoted to the goddess practiced a sacred prostitution in order to favorize the fecundity of nature. The women tied to the temple were called “nubile girls”, while the men working there were called “dogs” to highlight how completely enslaved they were to the goddess. We know that the prostitutes of both sexes brought important incomes to the temple/

The etymology of Tanit (whose name can also be called Tannit or Tinnit) is obscure. The most probable hypothesis is that the Phoenico-Punic theonym “Tnt” is tied to the verb “tny”, which was used in the Bible to mean “lamenting”, “wailing”, “crying”. According to this interpretation, the “tannît” is originally a “crier”, a “wailer”, and the full name of Tanit means “She who cries before Baal”. As such, the Carthaginian goddess might come from a same tradition as the “Venus lugens”.

According to some mythographers, Tanit (or Astarte) was the supreme goddess of Carthage, and might have been identical to the figures of Dido and Elissa. As in, Dido was in truth the celestial goddess, considered as the founder of the city and its first queen. According to this hypothesis, the suicide of Dido on a pyre was a pure invention of Virgil, who took this motif from various celebrations hosted at Carthage. During these feasts-days, images and depictions of the goddess were burned The word Anna would simply mean “clement”, “mild”, “merciful” – the famous Anna, sister of Dido, is thought to have been another Punic goddess, whose cult was brought from Carthage to Rome, and who there was confused with the roman Anna Perenna, a goddess similar to Venus. Varro claimed that it was not Dido that burned on the pyre, but Anna, and according to this angle, Anna appears as a double of Dido – and like her, she would be another manifestation of the goddess Tanit. Anna’s very name reminds of the name “Nanaia”/”Aine”, which was a title given to Mylitta, yet another manifestation of Tanit.

The sign known as the “sign” or “symbol of Tanit” seems to be a simplified depiction of the goddess with her arms open: it is a triangle (reduced to a trapezoid as the top of the triangle is cut) with an horizontal line at its top, an a disc above the horizontal line. This symbol appears throughout the Punic world on monuments, steles, ceramics and clay figurines.

Part 2: The literary Tanit of Flaubert

Gustave Flaubert’s novel Salammbô is probably where the goddess reappears with the most splendor in literature. While her essence is shown being omnipresent throughout the Punic world, Tanit, as the soul of the city, truly dwells within the town’s sanctuary, which keeps her sacred cloak. The veil of the goddess, desired by many, stolen then regained throughout the plot, plays a key role within the structure of this very enigmatic text, which presents itself as a “veiled narrative”.

The town and its lands are filled with the soul of the “Carthaginian Venus”. The countryside, for example, is filled with an erotic subtext, sometimes seducing, sometimes frightening – reflecting the ambiguity of the goddess. The landscape is all curves, softness, roundness, evoking the shapes of a female body – and the architecture of both the city-buildings and countryside-buildings are described in carnal ways. Within Salammbô, Flaubert describes a world where the spirit and the flesh are intertwined – the female world of Carthage is oppressed by an aura mixing lust with mysticism; and through the erotic nature creeps both a frightening sacred and an attractive morbidity. For death and destruction is coming upon Carthage.

The contradictory nature of the goddess appears as early as the very first scene of the novel, when the gardens of Hamilcar are described. The novel opens on a life-filled landscape: the gardens of the palace are a true Land of Eden, with an abundant vegetation filled with fertility symbols. The plants that are listed are not mere exotic ornaments: they all bear symbolic and mythological connotations. The fig-tree, symbol of abundance and fecundity ; the sycamore, “living body of Hathor”, the tree of the Egyptian moon-goddess ; the grenade, symbol of fertility due to its multiple seeds ; the pine tree, linked to Attis the lover of Cybele ; the cypress, Artemis’ tree ; the lily, which whose perfume was said to be an aphrodisiac ; the vine-grapes and the rose… All those plants are linked to the moon, that the Carthaginian religion associated with Tanit. Most of these symbols, however, have a macabre touch reflecting the dark side of the goddess. The cypress, the “tree of life”, is also a funeral tree linked to the underworld ; the coral is said to be the same red as blood, and was supposedly born from the blood-drops of Medusa ; the lily symbolizes temptation and the unavoidable attraction of the world of the dead ; the fig-tree just like the grenade have a negative side tied to sterility… The flora of this passage, mixing benevolent and malevolent attributes, already depict a world of coexisting and yet opposed principles: fertility cannot exist without sterility, and death is always followed by a renewal. The garden’s description introduces in the text the very cycles of nature, while also bringing up the first signs of the ambivalence that dominates the story.

The same union of opposites is found within the mysterious persona of Tanit. The prayer of Salammbô (which was designed to evoke Lucius’ lamentations to Isis within Apuleius’ Metamorphosis) first describes a benevolent goddess of the moon, who fecundates the world : “How you turn, slowly, supported by the impalpable ether! It polishes itself around you, and it is the movement of your agitation that distributes the winds and the fecund dews. It is as you grow and decrease that the eyes of the cats and the spots of the panthers lengthen or shrink. The wives scream your name in the pains of labor! You inflate the sea-shells! You make the wines boil! […] And all seeds, o goddess, ferment within the dark depths of your humidity.” As a goddess presiding to the process of fermentation, Tanit is also tied to the principle of death – because it is her that makes corpses rot.

The Carthaginian Venus appears sometimes as an hermaphrodite divinity, but with a prevalence and dominance of her feminine aspect. Other times, she appears as just one of two distinct divinity, the female manifestation in couple with a male principle. Tanit synthetizes within her the main aspects of all the great moon-goddesses: Hathor, Ishtar, Isis, Astarte, Anaitis... All are supposed to have an omnipotence when it comes to the vegetal life. Mistress of the elements, Tanit can be linked to the Mother-Earth : for the character of Salammbô, the cloak of the goddess will appear as the veil of nature. The daughter of Hamilcar is linked in a quite mysterious way to Tanit – for she is both a frightened follower of the goddess, and the deity’s incarnation. Described as “pale” and “light” as the moon, she is said to be influenced by the celestial body: in the third chapter, it is explained that Salammbô weakened every time the moon waned, and that while she was languishing during the day, she strengthened herself by nightfall – with an additional mention that she almost died during an eclipse. Flaubert ties together his heroine’s traits with the very name “Salammbô”, which is a reminiscence of the funeral love of Astarte: “Astarte cries for Adonis, an immense grief weighs upon her. She searches. Salmmbô has a vague and mournful love”. According to Michelet’s explanations, “Salambo”, the “love name” of Astarte, is meant to evoke a “mad, dismal and furious flute, which was played during burials”.

As a character embodying Tanit, Salammbô is associated with the two animals that were sacred to the goddess: the holy fishes, and the python snake, also called “the house-spirit”. Upon the “day of the vengeance”, when Mâtho, the scape-goat, is charged with all the crimes of the mercenaries, she appears under the identity of Dercéto, the “fish-woman”. The very detailed costumes of Salammbô contain motifs borrowed to other goddesses that are avatars of Tanit. By using other goddesses, Flaubert widens the range of shapes the lunar goddess can appear with, while also bringing several mythical tales, whose scattered fragments infiltrate themselves within the novel. When she welcomes her father, Salammbô wears around her neck “two small quadrangular plates of gold depicting a woman between two lions ; and her costume reproduced fully the outfit of the goddess”. The goddess depicted here is Cybele, the passionate lover of Attis, the young Phrygian shepherd. This love story that ends in mutilations bears several analogies with the fatal love between Salammbô and the Lybian leader. And the motif of the mutilation is one of the key-images of the novel.

A fish-woman, like Dercéto, Salmmbô is also a dove-woman, reminding of Semiramis ; but more so, she is a snake-woman, linked mysteriously to the python. Before uniting herself with Mâtho (who is identified to Moloch), Salammbô unites herself with the snake that incarnates the lunar goddess in her hermaphroditic shape. It is the python that initiates Salammbô to the mysteries, revealing to Hamilcar’s daughter the unbreakable bond between eroticism and holiness. In the first drafts of the novel, Salammbô was a priestess of Tanit, but in the final story, Flaubert chose to have her father denying her access to the priesthood. So, she rather becomes a priestess under Mathô’s tent: using the zaïmph, she practices a sacred prostitution. The union of Hamilcar’s daughter and of the leader of the mercenaries reproduces the hierogamy of Tanit and Moloch.

Salammbô, confused with Tanit, is also victim of the jealous Rabbet. Obsessed with discovering the face of the goddess hidden under the veil, she joins the ranks of all those female characters who curiosity leads to the transgression of a divine rule (Eve, Pandora, Psyche, Semele). And, in a way, the story of Mathô and Salammbô reproduces this same story: the desire to see, the desire for knowledge, always leads to an ineluctable death.

[whencyclopedia]

Dido

Queen Dido (aka Elissa, from Elisha, or Alashiya, her Phoenician name) was a legendary Queen of Tyre in Phoenicia who was forced to flee the city with a loyal band of followers. Sailing west across the Mediterranean she founded the city of Carthage c. 813 BCE and later fell in love with the Trojan hero and founder of the Roman people Aeneas. The tale of Dido is most famously recounted in Virgil's Aeneid but she appeared in the works of many other ancient writers both before and after.

Dido & Pygmalion

The earliest surviving mention of the founding myth of Carthage appears in the work of Timaeus of Taormina, a Greek historian (c. 350-260 BCE) whose original texts do not survive but which are referred to by later authors. Timaeus was the first to present the foundation of Carthage as occurring in either 814 or 813 BCE. An additional source on the historical Elissa is Josephus, the 1st century CE historian, who quotes Menandros of Ephesus' list of 10th-9th century BCE Tyrian kings, which includes mention of an Elissa, sister of Pygmalion (Pumayyaton), who founded Carthage in the seventh year of that king's reign.

The most famous version of the Dido story, though, is found in Virgil's Aeneid. The 1st-century BCE Roman writer describes Dido as a daughter of Belus, the King of the Tyre in Phoenicia. We are told that her Phoenician name was Elissa but the Libyans gave her the new name Dido, meaning 'wanderer'. Virgil recounts that Dido's brother, Pygmalion, cheated his sister out of her inheritance and then, in order to keep the throne of Tyre, killed Dido's husband Sychaeus. In another version, Dido married Acherbas (Zakarbaal), her uncle and priest of Melqart (or Baal) who was similarly executed by Pygmalion to acquire his wealth. Dido then fled the city with a loyal following (which included the military commanders Bitias and Barcas) and a hoard of the king's gold to sail west and a new life.

Continue reading...

[finelythreadedsky]

Hey! I just saw one of your qrts of a poem on censorship and I’m really curious about one of the tags you added that said there is a connection between the Jewish sense of identity and the ancient Carthaginians/Phoenicians and I’m super interested, could you please elaborate?

um so the genesis of those tags is actually in two conference talks i heard in december that discussed dido in the civilization video games, which i have never played and know nothing about, but i found it really interesting that the creators of that game give dido an in-game affinity with judaism (that's the religion she's inclined to 'found' if you play as her? or something) and reconstructed the phoenician dialogue her voice actor delivers based on modern hebrew pronunciation. i think it was maureen attali who went into more detail about various jewish approaches to/reception of dido, but i don't remember specifics. i believe the conference proceedings will eventually be published as a book about the reception of the women of the aeneid-- edith hall and magdalena zira are the people behind that.

in an even broader context, i just think it's fascinating that a sense of affinity with the ancient phoenicians and carthaginians seems to develop so easily among modern jews. like the way sonya taaffe's poetry frames both carthage and judea as victims of roman imperialism. and it's sort of baked in on a linguistic level too: it's really easy to learn phoenician/punic if you already know hebrew, and the older convention was even to print phoenician and punic with hebrew letters. if you're familiar with hebrew or even just anything jewish, there are a lot of moments of recognition when you start to look at phoenician and punic history and material culture! like oh wait the suffete? same word as the hebrew name for the book of judges, shoftim. and that's the baal that the bible is always going off about.

like a friend of mine recently joked that the movie frozen is an aeneid 4 retelling bc the sisters elsa and anna map onto elissa (dido) and anna, but the names aren't a coincidence! elsa derives ultimately from the hebrew elisheva, which uses the same root el- as the phoenician name elishat which became elissa in greek/latin! and the name anna became common in europe because hannah (anna in greek) was a common jewish name around the turn of the millennium, cognate with the phoenician name based on the same root that was also latinized as anna!

and also the phoenicians were characterized (both in texts and in reality) by their involvement with trade, which rings with more modern characterizations of jews, and there's also often a degree of untrustworthiness attributed to them because of that association with trading that feels weirdly akin to the last millennium of antisemitism. like i'm thinking of dougherty 2001, the raft of odysseus ch 5-- the picture of the phoenicians suggested in the odyssey looks very much like portrayals of jews, with varying degrees of antisemitism. so i do think there's a sense of (sometimes defensive) identification that easily arises there.

and all that is particularly interesting bc within the bible the phoenicians/canaanites are presented as the enemies of the israelites against whom they're trying to define themselves! and that israelite hostility toward the canaanites is perhaps precisely because they are so similar and so closely related.

anyway reception of the phoenicians is so cool

[glassprism]

Could you plz explain the origin of the names Elissa, Star Princess, and Aminta? TY!

If you want to go solely by the musical, the names "Elissa" and "Aminta" come from the libretto:

We have reached the great choral scene in which Hannibal and his army return to save Carthage from the Roman invasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen of Carthage (his mistress) is CARLOTTA GUIDICELLI. Laughing, DON JUAN puts on PASSARINO's clothes and goes into the curtained alcove where the bed awaits. Although we do not know it yet, the Punjab Lasso has done it's work and SIGNOR PIANGI is no more. When next we see DON JUAN, it will be the PHANTOM. Meanwhile we hear AMINTA (CHRISTINE) singing happily from the distance.

There are also historical reasons for the names; ALW and co. did not just pull those names out of a hat. Elissa is one of the names of Dido, the founder of Carthage, well known if you're into Roman mythology and the works of Virgil. It does make the premise of Phantom's Hannibal rather inaccurate, as Hannibal (also a historical figure) was not around when Elissa/Dido was, but you know, it's opera.

Aminta, meanwhile, is derived from one of the many adaptations based around the figure known as Don Giovanni or Don Juan. ALW's Don Juan Triumphant seems to take it's plot inspiration from Mozart's Don Giovanni, but the name Aminta comes from an earlier adaptation, The Trickster of Seville, where Aminta is one of several of Don Juan's conquests.

The "Star Princess" is a different matter, since it's name does not appear in the libretto or in Maria Bjornson's original design, and in Leroux's novel Christine wears something totally different. (There are very likely people who wore something like Christine did in historical costume balls but I'm not looking up the names of those.) It seems that the name is a backstage one that made it's way into the fandom, and there are likely other names for the dress too that just aren't as popular ("the Masquerade dress", "the sunset dress", etc.).

[c-rose2081]

The Fair Elissa of Carthage

—

—

Hannibal by Chalumeau is the epic love story of Elissa, a former-Roman girl captured by the armies of the Carthage Empire. Enslaved for most of her life after her family was slaughtered and her name and former life was stripped away, she is given as a gift to the great King Hannibal after his triumphant return from defeating the Roman Hoard.

While serving him, Hannibal falls deeply in love with Elissa despite already having two wives but no true heir. The opera is the retelling of Elissa’s rise from slave to Queen, and outlines the epic, forbidden love between a King and a slave who once belonged to the enemy.

—

My own variation of Christine’s ‘Hannibal’ gown. Green and red is not my favorite combo, but I did my best to make it work in a way that I liked. I don’t do stripes tho, so we cut those out completely XD

[asdaricus]

Ancient Queens, mostly Queens Regnant, made by Midjourney, in the style of Leonardo da Vinci. I'm pretty sure Midjourney got many of them horribly wrong. 1 Kubaba of Sumeria 2 Hatshepsut of Egypt 3 Nefertiti of Egypt 4 Elissa "Dido" of Carthage 5 Queen of Sheba 6 Semiramis of Assyria 7 Salomé Alexandra, Queen of Judea 8 Cleopatra VII of Egypt 9 Boudica of the Icenia, Britain 10 Zenobia of Palmyra 11 Medb of Connacht, Ireland 12 Empress Theodora

[thebigpapilio]

so everyone knows my ASAU of Persona 5 Royal, A Righteous Rebellion. right? And we're all also aware of @scruffyturtles' Adult Confidant AU?

well I sorta fused them? tldr: i made a (mostly) Adult Confidant AU for ARR! Details below, if you're interested - and if you have any questions about it, please ask @rollthedice-playthecards or this blog here!

WARNING: MAJOR SPOILERS FOR ARR! CANON-STANDARD TRIGGER WARNINGS!

The Fool and Strength (i.e. Igor & Caroline/Justine/Lavenza) are the same. Otherwise, everyone's changed.

The World (i.e. Protagonist) is Tae Takemi!

Her parents were abusive shitheads to her, and she got into a program that helped her escape for Tokyo.

Her first Persona is Merit-Ptah, a fictitious woman purported to be a chief physician of an Ancient Egyptian pharaoh and thus one of the oldest known women in medicine and science.

The Magician is Sadamu Niijima (transmasc!Sae)!

The home invasion that killed Mr. Niijima also led to his death, but Igor came upon his soul and reincarnated him into a hound (because of Shadow Sae's tattoos) for The Yaldabaoth Game™.

His first Persona is Turiddu, a Sicilian bandit whose gang was "legally held responsible" for a massacre, although the entirely of their role in it is disputed.

The Priestess is Sadayo Kawakami!

She was a member of Student Council, but when she brought up Kamoshida's abuse to Principal Omon "Bael" Kobayakawa, she lost her seat. Kobayakawa actually replaces Kaneshiro as the third major target.

Her first Persona is Elissa, legendary founder and queen of Carthage... oh, and I will be shipping her with Tae for my Kawakemi agenda. :)

The Empress is Chihaya Fukurai (Mifune)!

Yuichi "Mammon" Fukurai, her adoptive father, runs Fukurai Foods (Big Bang Burger's owner and more). Chihaya was setting up to inherit the business when Yuichi "changed his mind" and prepared to sell her off in an arranged marriage to Rikio Sugimura.

Her first Persona is Lakshmibai, an Indian rani who rebelled against the Bri'ish.

The Emperor is Sojiro Sakura!

He's a culinary prodigy studying under his adoptive parent (I haven't decided who yet, but they're Azazel) - a TV chef who runs a kids' competition a la Chopped Junior. They definitely abuse some of those kids.

His Initial Persona is Hamlet, the famous Shakespearean Prince of Denmark.

The Hierophant is Makoto Niijima, owner of Cafe Bianca.

She's been looking for her estranged younger "sister" for years now.

The Lovers is Munehisa Iwai!

Munehisa is Shujin’s star athlete. Excels in every sport in Shujin except volleyball, from which he was banned after standing up to Suguru "Asmodeus" Kamoshida.

Kaoru, his younger brother here, takes the role of Shiho, and Akimitsu Tsuda and Masa replace Nakaoka and Takeishi.

His Initial Persona is Barrow, a Great Depression-era criminal who robbed small stores, funeral homes and banks with his partner Ms. Parker.

The Chariot is Ichiko Ohya!

Leader of the photography club. She caught photos of Kamoshida’s dirty deeds in the past and is trying to find a way to expose them anonymously. Oh, and she has a long-distance girlfriend named Kayo.

Her Initial Persona is O'Malley, an Irish pirate queen so violent Elizabeth I considered sending the Royal Fleet after.

Justice is Toranosuke Yoshida!

I sort of split Goro's two roles in this AU. Toranosuke plays the Detective Prince trying to solve the case of mental shutdowns (+ the Phantom Thief case), but his brother-by-choice Benzo Kuramoto plays assassin and mental-shutdown-inducer for Masao Kuramoto, his grandfather. Tora joins the team in Oda's Palace, and they fight Benzo in Kuramoto's Palace - that's where Toranosuke achieves his Second Persona.

Speaking of Personas, his Initial one is Greenlefe, Robin Hood's second-in-command and the only one present at his death.

The Hermit is Takuto Niijima (Maruki)!

Makoto had a brief stint as a police officer, but after a influential asshole (Kuramoto) drove drunk and killed one Tomoyo Rumi, she attempted to dig into the situation and was dishonorably discharged. Soon after, she met Rumi's boyfriend, Takuto (an orphan with one shitty relative), and took him in.

He would be a third-year if he was still in school. He’s wasting away as he grieves Rumi's death. He can’t bring himself to kill himself, but he also doesn't want to be alive anymore.

His Initial Persona is Popol Vuh, a religious text of the mythology and history of the Kʼicheʼ Guatemalans.

The Fortune is Hifumi Hibino (Togo)!

After Mitsuyo disowned Hifumi for coming out as lesbian, Hifumi moved in with her wife Haru (they both end up with Makoto later). Hifumi took up busking/street shogi, not wanting to be reliant on Haru.

The Hanged Man is Akira Kurusu!

Not much for this guy right now - like Canon!Munehisa, he's an ex-yakuza who runs Indomptable, an airsoft store. Ren is his adoptive son.

Death is Sumire Yoshizawa!

A medical misdiagnosis (by her biological mother Yui, not that she knows it) left Sumire's sister in a coma. Ever since, Sumire can't see anyone unconscious without thinking of Kasumi.

Temperance is Ryuji Sakamoto!

An orphaned man who teaches PE at Shujin and moonlights in an escort service to take care of himself and his son Morgana.

Just after his college years, his mom's ex-husband killed her and then killed himself to escape the police, so he has no support system. Thus, he got himself into trouble with a duo of loan sharks so he could look presentable enough to replace Kamoshida.

He, Ann and Shiho were friends in high-school, but he never saw them again after graduating.

The Devil is Ann Takamaki!

An up-and-coming actress working hard to make it big. She's keeping her sexuality (and her girlfriends Shiho Suzui and Mika Abe) under wraps from everyone, including her manager.

At the end of the Confidant, she moves in with her old friend (and future boyfriend) Ryuji after Tae mentions him.

The Tower is Goro Shido (Akechi)!

Goro is a very temperamental young man with no methods of healthily and safely letting out his anger at the world and his shitty, abusive father.

After Shido's heart is changed, Ryuji (and Ann and Shiho) take Goro in.

The Star is Zenkichi Hasegawa!

Even if Zen doesn't know it, he's the best player in the shogi club at Kosei. It's discovered their "team" has been fixing matches, and Zenkichi is determined to find out who's cheating.

Jyun Owada, his senpai and club president, is jealous, and is trying to cause strife between him and his girlfriend Aoi to weaken him.

The Moon is Sophia Ichinose!

Sophia is a Greek immigrant who moved to Japan for work opportunities. She's Tae's science teacher, so Tae really likes her. Her daughter Kuon, however, has fallen in with a HORRIBLY nasty crowd - a bigoted group who hates (among other groups of people) Kuon's adoptive mother. Kuon, naturally, is conflicted, and this leads to conflict between her and Sophia.

The Sun is Haru Hibino!

A young politician whose bold eat-the-wealthy mentality does not sit well with older generations - for example, her father Kunikazu, who disowned her and silently smeared her campaigns so she'd waste her inheritance and never expose his criminality.

In the end of the whole story, Haru legalizes polyamorous marriage!

Judgement is Shinya Oda!

Uses they/them pronouns here.

After Shinya's mother Hanae was killed in cold blood, they joined the SIU to find the killer. She did something to piss off Kuramoto, though, so he and the director do everything they can to keep Shinya away from that.

The Faith is Wakaba Isshiki!

Daughter of Shujin's new counselor. A science prodigy.

I don't have much ideas for her yet, never mind her Personas.

The Councillor is Futaba Isshiki!

Shujin's aforementioned new counselor in the wake of Kamoshida's arrest. Believing the world to be "without life" without her deceased fiancee Kana, her Palace becomes a Graveyard, where she "raises the dead" by fixing their problems.

She only has one Persona - Chac Chel, an important Maya goddess of many things, most prominently both creation and destruction.

The Hope is Yuuki (Mishima)!

His ranged weapon is eye lasers. They use both he/him and they/them.

An A.I. made by Katsuo Akiyama, a regretful high-school bully who caused one of his victims to commit suicide.

Their first Persona is Thyrsus - a giant fennel staff that Yuuki uses like a weapon alongside the Persona aspect of it.

The Apostle is Yusuke Kitagawa!

The only original Phantom Thief to keep the power of Persona.

Ordered by Madarame Ichitaro (the killer of his mother and Police Commissioner) to investigate the Phantom Thieves after a series of mass heart-changings occur again.

Akane has a brother, Natsuhiko, and they share the Jail. Their mother, Takayo (Yusuke's beard) is still dead.

His Persona is Enjolras, and he later gets with Akira.

Lastly, a unique Arcana - The Actor, Morgana Sakamoto!

A theater prodigy at his school (not Shujin or Kosei) and Ryuji's son. He has no clues to his past before Ryuji, and he wants to know, but he also wants his dad to be happy. At the end of the Strikers arc, Lavenza becomes human, and he and Goro get the Sakamotos to adopt her as well.

Reminder once again to post any questions about this AU to @rollthedice-playthecards!

[blogdemocratesjr]

Dido and Aeneas on the Quay at Carthage by Bass Otis (American, 1850)

❤️💛

We will be indebted to you for what we deserve, and if at all more, I beg a little time because there was some hope of marriage. When the seas grow calm and when love balances the lessons of experience, I will learn to be able to suffer sorrows bravely. If that doesn't happen, I am determined to pour out my life; You will not for long be able to be cruel toward me. I wish that you could see how the one who writes this appears; I am writing with your Trojan sword lying in my lap; And from my cheeks the tears drip down upon the drawn sword, Which soon will be stained with blood instead of tears. How well your gifts are fashioned for my fate! You adorn my sepulchre at very little expense. And my breast is not now being pierced for the first time by a weapon of yours: That place already bears the wound of your fierce love. Anna my sister, my sister Anna, sad confidante of my sin, Soon you will give to my ashes their final gifts, And, consumed by the funeral pyre, I will not be accounted "Elissa, wife of Sychaeus."

Dido's Letter to Aeneas by Ovid

[whywishesarehorses]

“My Wild Mustang Story - Elissa & Chico”

"My name is Elissa Dodson and I have had the joy of working with our mustang Chico for almost 18 years. Chico was originally adopted by my husband and his parents shortly before we met. While attending an auction in Carthage, MO they met this scrawny gray yearling from Wyoming who was such a food hound that, while the other horses crowded in a far corner, he spent the entire day with his head stuck through the bars begging for hand outs and scratches. Some things never change. That little boy came home with them, was christened Chico, and is still on the constant lookout for food and attention.

"I grew up as your average horse crazy girl, reading Marguerite Henry books and learning to ride on our backyard horses. While attending Missouri State University, and increasing my horse obsession by getting an Equine Studies minor and competing on the equestrian team, I met my future husband and was soon driving out to his family farm to go riding. The first clue my parents had that things were getting serious was when they began to hear an awful lot about one cute little mustang named Chico... who happened to be owned by this guy named Clay. At this point Chico was halter trained and ready to officially begin his saddle training. I had just completed a course on horse training and was eager to continue growing my skills in that area, so Clay and his parents very kindly let me take over Chico's education. I'm pretty sure that horse has taught me more than I could ever teach him, and very patiently dealt with me learning the ropes alongside him.

"It wasn't long before we were riding around the farm, and then trail riding with the other horses. Chico was right there when Clay proposed to me while out on a ride together, and since then has helped teach all six of our children to ride. He has grown from being a scrawny little yearling to a beautiful big gelding that has been referred to as a “Spanish warmblood” at a local horse show. He earned me my first blue ribbon, has carried me on miles and miles of trails, including horse camping trips into the nearby Ozark wilderness areas, and has helped me teach many hours of riding lessons to kids of all ages. He loves to jump, has quickly picked up basic dressage maneuvers, patiently carries packs and is a great lead horse for when I pack other horses behind him. He has a distinct dislike for curious black and white dairy cows who like to follow too close behind him, wants to splash and play in every puddle he comes across, and generally has a personality that is so big it pours out of him in every situation. No ride would feel complete without his complaining groaning as he carries me down the trail.

"Chico was influential in developing my love of mustangs. Since working with him we have adopted five other mustangs and one burro. Out of all the horses I have worked with over the years, I love that our mustangs have all been the most curious, intelligent and quick to learn. They are hardy, willing to please, share our love for exploring new places and each have their own unique and hilarious personalities."

---

This My Wild Horse Story story was submitted by Elissa Dodson to the BLM Tales From the Trails project

[uncleasad]

So, uh…I guess I’m not done with the Roman Republic Hosie AU introduction just yet. Thought about how to intro Alaric and the twins today and started writing that tonight. Got waylaid pretty quickly by research, though (still 275 words).

Something to add to the List of Things I’d Never Thought I’d Do: merging the timelines of TVDU and the Punic Wars 😳🤯😂

Some of tonight’s research topics (some repeats!):

The Cursus Honorum

Timeline of the Punic Wars

Twins in Roman culture

Carthaginian personal names

I was playing around with Hope’s name after I published the excerpt the other day and decided to make her middle name Elissa, after the legendary founder of Carthage. Then I was thinking about Hayley’s name today, and how to tie that back to Hope like in TVDU—but also what happens to her during the sack of Carthage 😢—and one of the things I learned tonight was that the original Canaanite/Phoenician/Punic/Carthaginian form of Elissa is “Halishat”…which, depending on the qualities of both the initial H and A, and the I, could sound remarkably similar to “Hayley” 😳 So, there we go, “problem” solved, Hope’s named after both her mother and the founder of her civilization, as I wanted 👏

Still gotta work out that timeline, though…😢

I swear, though, once I get this intro of Alaric and the twins done (including some exposition of Alaric’s backstory), I’m putting this aside and getting back to finishing The One With Hope’s Wedding (I’m so close!)

[revev2]

The Inhabitants of Zaghouan and Its Surroundings

Ancient TimesIn ancient times, the area of Zaghouan and its surroundings was inhabited by the Maxyes, a people who formed a small kingdom allied with Carthage in exchange for an annual tribute. According to the legend of Carthage’s founding, the King of the Maxyes proposed to Elissa, the founder of Carthage, and threatened to destroy her city if she refused. However, Carthage soon extended its…

[hurremsultanns]

WAIT HANG ON

ELISSA FARMAN

ELISSA AS IN DIDO OF CARTHAGE?

[the-eternal-quest-for-balance]

The tall ship Elissa is a three-masted barque. She is based in Galveston, Texas, and is one of the oldest ships sailing today. Launched in 1877, she is now a museum ship at the Texas Seaport Museum. She was designated a National Historic Landmark in 1990. The Texas Legislature designated Elissa the official tall ship of Texas in 2005.

Elissa was built in Aberdeen, Scotland as a merchant vessel in a time when steamships were overtaking sailing ships. She was launched on October 27, 1877. The vessel was named for the niece of Henry Fowler Watt, Elissa's first owner,[4] though according to his descendants the ship was named for the Queen of Carthage, Elissa (more commonly called Dido), Aeneas' tragic lover in the epic poem The Aeneid.[citation needed]

Elissa also sailed under Norwegian and Swedish flags. In Norway she was known as the Fjeld of Tønsberg and her master was Captain Herman Andersen. In Sweden her name was Gustav of Gothenburg. In 1918, she was converted into a two-masted brigantine and an engine was installed. She was sold to Finland in 1930 (owned by Gustaf Erikson to 1942) and reconverted into a schooner. In 1959, she was sold to Greece, and successively sailed under the names Christophoros, in 1967 as Achaeos, and in 1969 as Pioneer. In 1970, she was rescued from destruction in Piraeus after being purchased for the San Francisco Maritime Museum. However, she languished in a salvage yard in Piraeus until she was purchased for $40,000, in 1975, by the Galveston Historical Foundation, her current owners.[5] In 1979, after a year in Greece having repairs done to her hull, Elissa was first towed to Gibraltar. There, she was prepared for an ocean tow by Captain Jim Currie of the New Orleans surveyors J.K. Tynan International. The restoration process continued until she was ready for tow on June 7, 1979.

[imperium-romanum]

Dido, known also as Elissa in some sources, is a legendary queen who is credited with the founding of Carthage. The legend of Queen Dido is found in Greek and Roman sources, the best-known of which being Virgil’s Aeneid. The legend in this epic poem takes the form of a tragedy, in which the queen commits suicide after her lover, Aeneas, leaves for the Italian Peninsula.

The name Dido is said to mean ‘wanderer’, which is appropriate, considering the story of how she arrived in Carthage. According to legend, Dido was a princess of Tyre, a Phoenician city state in present day Lebanon. According to Virgil, Dido’s father was Belus and her brother was Pygmalion. While she was still living in Tyre, Dido was married to a man named Sychaeus.

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[catilinas]

elissa sounds close enough to elysium for carthage to have always been a city of the dead