#curia pompeia

[ebonetnoir]

BUY IT NOW

Libro Di M. Gio Boccaccio Delle Donne Illustri Tradotto Per Messer Giuseppe Betussi. Con Una Additione Fatta, Dal Medesimo Delle Donne Famose Dal Tipo Di M. Giovanni Fino à I Giorni Nostri & Alcune Altre State Per Inanzi, Con La Vita Del Boccaccio, & La Tavola Di Tutte L'historie, & Cose Principali Che Nell'opra Si Contengono. All'illustriss. S. Camilla Pallauicina Marchese Di Corte Maggiore. In Vineggia M D LVIII RARE, ITALIAN LANGUAGE ILLUSTRATED Publisher: Francesco e gli Imperatori, Veneggia (Venice) Copyright: 1558

--ABOUT THIS ITEM-- Item Dimensions: 6.0 inches x 4.5 inches Boccaccio's On Famous Women (De claris mulieribus) is a remarkable work that contains the lives of one hundred and six women in myth and history, ranging from Eve to Boccaccio's contemporary, Queen Giovanna I of Naples. It is the first collection of women's biographies ever written. Boccaccio composed it at Certaldo in 1361-62 and revised it in various stages to the end of his life in 1375. He dedicated it to Andrea Acciaiuoli, countess of Altavilla in the kingdom of Naples and sister of Niccolò Acciaiuoli, the grand seneschal of Queen Giovanna I. In his preface, the author states that the biographies of illustrious men had been written often by a number of excellent writers, and he cited his hero Petrarch's Lives of Famous Men (De viris illustribus) as an example. No one, however, had ever done the same for women. Boccaccio, therefore, presents a wide variety of women from antiquity to his own time, offering their lives as both moral exemplar and entertaining reading. On Famous Women is the earliest source of women's biography in the West and has had a long and distinguished publication career and literary influence. The famous women included are: 1. Eve, the first woman in the Bible 2. Semiramis, queen of the Assyrians 3. Opis, wife of Saturn 4. Juno, goddess of the Kingdoms 5. Ceres, goddess of the harvest and queen of Sicily 6. Minerva 7. Venus, queen of Cyprus 8. Isis, queen, and goddess of Egypt 9. Europa, queen of Crete 10. Libya, queen of Libya 11 and 12. Marpesia and Lampedo, queens of the Amazons 13. Thisbe, a Babylonian maiden 14. Hypermnestra, queen of the Argives and priestess of Juno 15. Niobe, queen of Thebes 16. Hypsipyle, queen of Lemnos 17. Medea, queen of Colchis 18. Arachne of Colophon 19 and 20. Orithyia and Antiope, queens of the Amazons 21. Erythraea or Heriphile, a Sibyl 22. Medusa, daughter of Phorcus 23. Iole, daughter of the king of the Aetolians 24. Deianira, wife of Hercules 25. Jocasta, queen of Thebes 26. Almathea or Deiphebe, a Sibyl 27. Nicostrata, or Carmenta, daughter of King Ionius 28. Procris, wife of Cephalus 29. Argia, wife of Polynices and daughter of King Adrastus 30. Manto, daughter of Tiresias 31. The wives of the Minyans 32. Penthesilea, queen of the Amazons 33. Polyxena, daughter of King Priam 34. Hecuba, queen of the Trojans 35. Cassandra, daughter of King Priam of Troy 36. Clytemnestra, queen of Mycenae 37. Helen of Troy, whose abduction by Paris began the Trojan War 38. Circe, daughter of the Sun 39. Camilla, queen of the Volscians 40. Penelope, wife of Ulysses 41. Lavinia, queen of Laurentum 42. Dido, or Elissa, queen of Carthage 43. Nicaula, queen of Ethiopia 44. Pamphile, daughter of Platea 45. Rhea Ilia, a Vestal Virgin 46. Gaia Cyrilla (Tanaquil), wife of King Tarquinius Priscus 47. Sappho, woman of Lesbos and poet 48. Lucretia, wife of Collatinus 49. Tamyris, queen of Scythia 50. Leaena, a courtesan 51. Athaliah, queen of Jerusalem 52. Cloelia, a Roman maiden 53. Hippo, a Greek woman 54. Megullia Dotata 55. Veturia, a Roman matron 56. Thamyris, daughter of Micon 57. Artemisia, queen of Caria 58. Verginia, virgin and daughter of Virginius 59. Eirene, daughter of Cratinus 60. Leontium 61. Olympias, queen of Macedonia 62. Claudia, a Vestal Virgin 63. Virginia, wife of Lucius Volumnius 64. Flora, goddess of flowers and wife of Zephyrus 65. A young Roman woman 66. Marcia, daughter of Varro 67. Sulpicia, wife of Quintus Fulvius Flaccus 68. Harmonia, daughter of Gelon, son of Hiero II of Syracuse 69. Busa of Canosa di Puglia 70. Sophonisba, queen of Numidia 71. Theoxena, daughter of Prince Herodicus 72. Berenice, queen of Cappadocia 73. The Wife of Orgiagon the Galatian 74. Tertia Aemilia, wife of the elder Africanus 75. Dripetrua, queen of Laodice 76. Sempronia, daughter of Gracchus 77. Claudia Quinta, a Roman woman 78. Hypsicratea, Queen of Pontus 79. Sempronia, a Roman Woman 80. The Wives of the Cimbrians 81. Julia, daughter of the dictator Julius Caesar 82. Portia, daughter of Cato Uticensis 83. Curia, wife of Quintus Lucretius 84. Hortensia, daughter of Quintus Hortensius 85. Sulpicia, wife of Cruscellio 86. Cornificia, a poet 87. Mariamme, queen of Judaea 88. Cleopatra, queen of Egypt 89. Antonia, daughter of Antony 90. Agrippina, wife of Germanicus 91. Paulina, a Roman woman 92. Agrippina, mother of the Emperor Nero 93. Epicharis, a freedwoman 94. Pompeia Paulina, wife of Seneca 95. Poppaea Sabina, wife of Nero 96. Triaria, wife of Lucius Vitellius 97. Proba, wife of Adelphus 98. Faustina Augusta 99. Symiamira, woman of Emesa 100. Zenobia, queen of Palmyra 101. Joan, an Englishwoman, and Pope 102. Irene, Empress of Constantinople 103. Gualdrada, a Florentine maiden 104. Constance, Empress of Rome and queen of Sicily 105. Camiola, a Sienese widow 106. Joanna, queen of Jerusalem and Sicily

[where-is-tom-scott-today]

I am here at the Curia Pompeia

[centrally-unplanned]

Love that the cover picture of the Wikipedia page for the Curia Pompeia is 3D model presumably ripped right out of a Roman Empire modpack for Myst:

This is where Julius Caesar died spilling his voxel blood all over the bitmap and you can't change my mind.

[trialsinthelateromanrepublic]

trial of Sextus Cloelius

date: 52 BCE, after April 22 charge: lex Pompeia de vi (movement of Clodius’ body into curia) defendant: Sex. Cloelius advocate: T. Flacconius prosecutors: M. Alfidius C. Caesennius Philo

Asc. 55-56C

[bunnysrph]

hi! can you please make a list of ancient roman inspired names, including some that are less common/not straight from mainstream mythology? thank you!

—  𝐀𝐍𝐂𝐈𝐄𝐍𝐓 𝐑𝐎𝐌𝐀𝐍 𝐍𝐀𝐌𝐄𝐒

below is a list of ANCIENT ROMAN inspired names. they are in alphabetical order, and split into 'masculine' and 'feminine' and 'unisex', for easier access. please LIKE / REBLOG if you find this list useful!

—  𝐌𝐀𝐒𝐂𝐔𝐋𝐈𝐍𝐄

Accius

Acilius

Acutius

Adiutor

Aedius

Aelianus / Aelius

Aemilianus / Aemilius

Aetius

Africanus / Afranius

Agathus

Agellus

Agricola

Agrippinus

Ahenobarbus

Akylas

Akylinos

Albanos / Albinianus / Albinius / Albinos

Alexinos / Alexinus

Amadias

Amicius / Amicus

Ampliatus

Ancus / Anicius

Annalis

Ansanus

Antoninos

Aphrikanos

Aquillius

Arrius

Arruns / Arruntius

Asper

Attius

Aufidius

Augoustinos / Augoustos

Augur

Aulos

Aurelianos / Aurelios

Aurius

Ausonius

Balbinos

Basolus

Bassianus

Bibulus

Blaesus

Blossius

Bonus

Britannicus

Broutos / Brutus

Caesarion

Calpurnianus

Caninius / Canius

Capito / Capitolinus

Cartilius

Carus

Carvilius

Casca

Castricius

Castus

Catullus

Caudex

Ceionius

Cicerón

Cincinnatus

Cinna

Clateus

Clodius / Cordius

Corellius

Coriolanus

Cornificius

Coropas

Corvus

Cossus / Crassus

Curius / Curtius

Dacianus / Dacius

Damasippus

Damasius

Datius

Decius

Defendens

Dentatus

Diaulus

Diocletius

Dolabella

Drousos / Drusianus

Equitius

Eulalus

Eumachius

Favian / Favonius

Martinos / Martius

Marullus

Maternus / Maturinus

Maxentios / Maximinos

Memmius

Messala

Metellus

Mettius

Minatus

Minervinus / Minervius

Miniatus

Minius

Montanus

Mucius

Munatius

Natalis

Naucratius

Necessitus

Nerius

Neron

Neroua

Nervas

Noma

Novatus / Novius

Numerius

Nymphias

Opimius

Opiter / Opiternius

Oppius

Optimus

Orestinus

Ostorius

Oualentinianos / Oualentinos / Oualerianos / Oualerios

Ouespasianos

Ouiktor

Oursos

Ovius

Paccius

Patrobas

Paulinos / Paullus

Pergentinus

Pertinax

Phabianos / Phabios / Phabrikios

Phaustinos / Phaustos

Phillipus

Phloros

Phourios

Pictor

Plautus

Pompo

Pontios

Poplios

Poppaeus

Portian / Portius

Poublios

Priscillus

Priskos

Probus

Processus

Proculus

Propertius

Pupillus

Quartus

Quintianus

Quiricus

Radix

Regoulos

Romanicus

Romulan / Romulanus

Roscius / Rosius

Rouphinos / Rouphos

Rullianus / Rullius / Rullus

Rupilius

Russus

Rutilius

Sabinos

Salinator

Sallustius

Satorninos / Satourninos

Savinus

Sawiris

Scaurus

Scribonius / Scribonus

Sedulius

Sekoundos

Sempronius

Senekas

Seouerianos / Seouerinos / Seoueros

Seppius

Serenos / Serenus

Sergios

Serouios

Sertor

Servilianus / Servilius

Servios

Severianos / Severinos / Severos

Silius

Sosius

Sporus / Spourios

Statilius

Statius

Sulpicius

Surdinius / Surdinus

Symphorus

Tarkynios

Tenagino

Terentios

Thrax

Tiberinus

Tibullus

Titinius / Titius

Torquatus

Toullios

Trebius

Turpilius

Ulpian

Ummidius

Valentinianos / Valentinos / Valerianos / Valerios

Varro / Varus

Venustian / Venustianus

Verus

Vespasius

Vettius

Vicesimus

Vinitius

Vipsanius

Viridianus / Viridius

Volesus / Volsus

—  𝐅𝐄𝐌𝐈𝐍𝐈𝐍𝐄

Accia

Aconia

Acutia

Adelphasium

Aedia

Afrania / Africana

Aimilia

Akylina

Albinia

Amica

Anicia

Aniensis

Annia

Appia

Aquilia

Arria

Arruntia

Atia

Aufidia

Aula

Aureola

Auria

Avidia / Avita

Blanda

Caenis

Caesillia / Caesula

Caia

Caietana

Capitolina

Cartilia

Carvilia

Cassiana

Castricia

Ceionia

Cordia

Corellia

Cornificia

Crispina

Curia

Cypriana

Dacia

Domitiana

Drusiana

Eumachia

Felicula

Ferocia / Ferocilla / Ferocina

Floridia / Floridiana

Furia

Furnia / Furnilla

Fusca

Fuscinilla

Hostilia

Iaia

Ianouaria

Invidia

Ioulia / Iouliana

Ioulitta

Iuventas

Januaria

Joviana

Kaikilia

Kouinta

Lepida

Licinia

Livilla

Lollia

Loukilla

Loukretia

Lucillia

Luciola

Maecia

Mamerca

Mania

Materna

Maxentia

Maximiana / Maximina

Mercuria

Messalina

Metella

Mettia

Milonia

Mucia

Munatia

Naevia

Necessitas

Neruia

Novia

Octaviana

Opimia

Oppia

Orestilla

Orestina

Oualentina

Oualeria / Oualeriana

Phabia / Phabiana

Phausta / Phaustina

Pompeia / Pompilia

Poppaea

Potita / Potitia

Procula

Pulchra

Quadratilla

Quarta / Quartilla

Quieta

Quinta / Quintia / Quintiana

Quintilia / Quintiliana

Romilia / Romula

Roscia / Rosia

Rupilia

Rutilia

Sagitta

Sallustia

Saturna

Scaura

Scribonia

Sebine

Secunda / Secundilla

Sedulia

Semperbella

Sempronia

Seouera

Sertora

Servilia

Severa / Severiana / Severilla

Statilia

Stellatina

Sulpicia

Surdinia

Sympherusa

Symphora

Tatia

Terentia

Tiberia

Tita / Titia / Titinia

Tuccia

Turia

Ulpia

Ultima

Vipsania

Viridia / Viridiana

Vistilia / Vitalina

Vitellia

Volesa / Volusa / Volusia

—  𝐔𝐍𝐈𝐒𝐄𝐗

Agrippa

Aquila

Glaucia

Iovita

Merula

[therealfrancisabernathy]

So ironic of us to choose Curia Pompeia for the assassination of Caesar. Yeah boy, love being reminded of my greatest political enemy on my deathbed!

[veryvincible]

On the Steps of the Curia Pompeia - M - 1.6k - Marvel 616

Archive Warning: Major Character Death

Relationships: Tony Stark/Tiberius Stone

Tags: Alternate Universe - Ancient Rome, mildly graphic depictions of violence, lots and lots of blood, Lovers To Enemies, to lovers again to enemies again, to lovers AND enemies, to guy with knife and corpse

Antonius had planned for a clean kill. It was for the sake of Rome. It was— It was to prevent Rome from falling prey to another king, it was for no one and nothing else. It was for no one and nothing else. Antonius twisted the blade, and he reveled in the choked “ah,” that fell from Tiberius’ lips.

Also known as: I wrote a Rome murder snippet of a fic I'll probably never complete, so please enjoy the tiny nibble of it!

[dererumgestarum]

THE THEATRE OF POMPEY, Pt. 1

Pompey the Great began to build the first permanent theatre in Rome over the years c. 61/55 BC. The construction of the immense theatre coincided with the first triumvirate, the renewal of which at Lucca in 56 BC paved the way for Pompey’s second consulship, with Crassus, in 55 BC and his governorship of Spain.

Almost every aspect of the building--its location, form, scale, function--was determined by political considerations. Pompey himself conceived of the theatre as an never-ending triumph, perpetuating the memory of his brilliant career, as a venue for his political activities, and as a sign of his taste and admiration of Hellenic culture. First and foremost, however, he conceived of the building as a massive bribe designed to buy the support to the common people at a critical moment in a high-stakes power struggle.

The vast complex had a long-term significance as well. It transformed the course of Roman architecture, serving as the architectural model for subsequent theatres and as the patronage model for the large-scale, public commissions undertaken by the emperors.

The theatre of Pompey was an amalgamation of buildings with varied and sometimes interrelated functions. The theatre, or entertainment portion, was modeled on the Hellenistic theatre at Mytilene, which Pompey visited in 62 BC, but executed on a much larger scale. The three-story, 90 meter-wide scenae frons was able to accommodate 600 donkeys trotted on stage simultaneously during the performance of play. Pliny estimated the seating capacity at 40,000, which was dismissed for centuries as exaggeration, but has been confirmed by recent excavations. 

As the donkeys suggest, a theatre of this size could accommodate a wider range of entertainments than the typical Greek theatre. Cicero’s account of the open days of the theatre mentions not only recherché Latin and Oscan dramas and dramatic readings by famous retired actors, but athletic competitions and gladiatorial combats as well (venationes several days in length were carried out in the nearby Circus Flaminius). Like the amphiteatre of Pompeii, Pompey’s cavea was shaded by a velarium; The cavea was also cooled by water flowing through channels cut into the stone floor.

The religious component, a small temple of Venus Victrix, to whom Pompey attributed his victories, was placed at the top of the cavea, which served as the temple’s podium and staircase. This arrangement was not unprecedented: the hemicycle temple at the summit of the sanctuary of Fortuna Primagenia in Praeneste (seen below) was approached by a semi-circular staircase which doubled as theatre seating. The temple was completed three years after the opening of the theatre. Several smaller shrines dedicated to Virtue, Felicitas, and Honor were located in the theatre.

Abutting the back of the scenae frons was an immense porticus pone scaenam, the building’s social component. Pompey’s porticus differed considerably from the practical storage facility and shelter later codified by Vitruvius. The Severan Forma Urbis indicates a vast, enclosed, peristyle garden, planted with rows of plane trees interspersed with fountains and pedestal statuary chosen by Titus Pompilius Atticus (which may have included the 6-meter gilded bronze statue of Hercules discovered during excavations in 1865). Additional amenities included a gallery, dedicated to the display of Pompey’s war spoils. The garden quickly became a popular meeting place and a prototype for numerous enclosed parks in Rome. The two long covered pavilions seen in Gismondi’s plastico are not supported by archæological evidence.

Finally, a curia, or meeting place for the senate, the building’s political component, was built into an exedra at the eastern end of the porticus. It was in the curia pompeia, and not the curia hostilia in the Roman Forum, that Julius Caesar was assassinated in 44 BC. Jean-Léon Gérôme’s painting of Caesar’s assassins (1859/67) recreates the curia as it was understood by 19th-century archæology.

The walls of the theatre and portico were composed of traditional travertine masonry, while the innovative system of vaults and arches that supported the cavea were composed of concrete. The red granite engaged columns and blind arches that made up the three tiers of arcades of the exterior elevation were purely decorative, serving no supporting function. The use of a concrete substructure to support the cavea made it possible for Pompey to choose a location on flat land in the center of Rome.

Covering what s now an entire neighborhood, the theatre of Pompey extended from the Campo de’ Fiori to the Largo Argentina area sacra—a distance of approximately 500 meters. The Flavian Amphitheatre, by contrast, is 189 meters in length. If it were still standing, the theatre would tower over every other structure in the vicinity, including the church of Sant’ Andrea della Valle. The first theatrum lapideum in Rome was the largest theatre ever built in antiquity and the most impressive public building in the city, surpassed in scale only by the Domus Aurea in the next century.

1. Italo Gimondi, Topographical Map of Ancient Rome, Rome, Museo della Civiltà Romana. 2. Victoire Baltard, Section of Theatre of Pompey Cavea, 3. 3D Rendering of the cavea. 4. Reconstruction drawing of the cavea and temple. 5. 3D rendering of the temple of Fortuna at the Sanctuary of Fortuna Primagenia, Praeneste. 6. Severan Forma Urbis, c. AD 205, Rome, Archivio Storico Capitolino. 7. Rodolfo Lanciani, Forma Urbis Romae, Pl. XXI, 1893/1901. 8. Jean-Léon Gérôme, Assassination of Julius Caesar, 1859/67, Baltimore, Walters Art Gallery. 9. Reconstruction drawing, 1915. 10. Google Earth view of area of modern Rome where the theatre was located.

[garland-on-thy-brow]

If Pompey is an electric eel he can make lightning! Note also that Pompey is, like, a god in JC because curia Pompeia is his temple and he is sacrificed to there. I'm not saying nor I want to say he's Jupiteel (Jupiter eel), but make what you will of it.

[lomonpla]

RT @cesarfuri: Con motivo de los recientes #IdusDeMarzo, vamos a realizar un hilo acerca del lugar del deceso, la Curia Pompeia, en clave religiosa ⤵️⤵️⤵️ (📸: Curia Pompeia con evidencia de los muros en opus reticulatum según G. Gatti y G. Marchetti Longhi, 1957) https://t.co/SnkNEamA0X

Con motivo de los recientes #IdusDeMarzo, vamos a realizar un hilo acerca del lugar del deceso, la Curia Pompeia, en clave religiosa ⤵️⤵️⤵️ (📸: Curia Pompeia con evidencia de los muros en opus reticulatum según G. Gatti y G. Marchetti Longhi, 1957) pic.twitter.com/SnkNEamA0X

— Caesar: Drama, Legend, History (@cesarfuri) March 16, 2019

via Twitter https://twitter.com/Lomonpla March 16, 2019 at 12:10PM

[veryvincible]

32, 33, 40

32. What story do you think showcases your signature style the most?

Oh, goodness, I don't know. The funny thing about that is that I think I kind of need Ty, Tony, and Steve to flex a full range of what I see as core aspects of my writing-- not necessarily this trio exactly, but this kind of trio, and I don't currently have any stories (cough cough on ao3 cough cough) that fully execute that the way I think I'd want it to be executed for the sake of showing my "signature style."

That being said, I think that has more to do with my own self-assessment of what's important to me in my writing; other people might come away from reading my fics and think that my "signature style" is something different than what I tend to think of it as.

Out of the works I do have up, I kind of think On the Steps of the Curia Pompeia might actually be the closest thing to what I'd write if you just handed me a laptop and said "Go!"

33. Have you ever stopped yourself from writing something? Why?

Well, antis and vulnerability, honestly. There was a point in time at which it was like, legitimate fear and guilt 100% of the time--like, I actually thought I was doing something wrong and actually believed people were entitled to my Life Experience Credentials in order for me to justify content that barely scratched the surface of what I felt I needed to write in order to be satisfied. And, like, guilt is still difficult to escape at times just because of how guilt as a default state can work, but mostly I just can't be bothered to deal with people now.

I mean, that potential Ty redemption arc I mentioned was one of those ideas I'd had for a long, long while before ever feeling okay enough with it to even casually mention, given that abuse is the one thing I tend to write about most and, as such, what I've received the most, er... let's say feedback on. So, it's largely a matter of conditioning, too; I assume automatically that some works, despite being less likely to be seen, would be more likely to get criticism if they were seen, and whether or not it matters enough to me to deal with the potential internet ramifications of that varies from day to day and fic to fic.

I do talk more shamelessly about that these days, though, especially since accidentally building a brand on Tony's only semi-canonical, very shitty (human) boyfriend. (Y'know, as opposed to the robot one.) I figure everyone who finds that distasteful is probably gone by now, and only a few stragglers pass by every so often.

Be nice, I guess, if you want to take anything away from this. But it's not like nobody knew that to begin with.

40. What area of writing do you want to improve in?

I know this is kind of memed, but the area I'd like to improve in most is just, like, actually writing. For many reasons, I can forgive myself for not being the most disciplined or consistent writer-- and frankly, I don't think anyone should be unable to forgive themselves for that-- but it would still be nice if I were able to create stuff consistently. It's usually better for me to be creating things than it is to not be creating things.

In terms of actual execution, though, I don't actually know what I'd want to improve in-- it's not that I love my writing all the time, I just feel like everything I'd like to be making progress on seriously, I've been pretty consistently improving, like defining genres and plotting/executing well-paced long stories. I could maybe benefit from writing more smut, though. 😛

[veryvincible]

fic writer meme :)

i was tagged by @dirigibleplumbing <3

1. How many works do you have on AO3?

17 right now! I'm pretty sure my highest ever was in the 90s, pre-Cass purge.

2. What’s your total AO3 word count? 

63,334.

3. What are your top 5 fics by kudos?

Work of Art, No Embellishments, Last (Another) Day, Love (Actually), and First Impression. Quite the genre mix. ^^

4. Do you respond to comments? Why or why not?

I try to, and I definitely do within the first few days of posting something, but sometimes comments can be difficult to respond to without regurgitating the same "Thank you!" over and over again, even though it's definitely heartfelt. There's usually an amount of time after posting that I mostly stop responding to comments unless one touches me deeply.

5. What’s the fic you’ve written with the angstiest ending?

Maaybe Disjointed, which starts in misery and ends in misery and definitely has more build-up and less hope than most other angst I've written. That being said, On the Steps of the Curia Pompeia is straight up just a brutal gay murder where Tony is in agony the whole time.

6. What’s the fic you’ve written with the happiest ending?

I have some fluffy-ish oneshots that I think could qualify, but they're too short to really have solid "endings" or parts with separate and distinct moods, so... probably First Impression. It's a silly little get-together.

7. Do you write crossovers? If so what’s the craziest one you’ve written? 

Nope! I'm not opposed to it, though.

8. Have you ever received hate on a fic?

Yep!

9. Do you write smut? If so what kind?

Yep! It's mostly the "pretty men are in agony because life and fuck instead of talking" kind.

10. Have you ever had a fic stolen? 

Not a fanfic, but definitely writing.

11. Have you ever had a fic translated?

I don't think so, but I also don't have a great memory with these kinds of things.

12. Have you ever co-written a fic before?

Yep! Many moons ago.

13. What’s your all time favorite ship?

Anyone who knows me knows that "favorite" is a word I have conflict with often, but my big two are Stony and Ty/Tony.

14. What’s a WIP that you want to finish but don’t think you ever will?

Whatever it is, I probably don't even remember it. One of the many Ty scribblings, I think.

15. What are your writing strengths?

I like my tone-setting and my diction; it's not necessarily a "writing" thing exclusively so much as it is an internal monologue + speaking thing that bleeds into my writing. I did pretty intentionally curate my vocabulary and manner of speaking so that it would sound pleasing to me personally, with little regard for how it came across. One of the funnier things that I picked up was using outdated language like "[something] of yore" and "egads" and "over yonder" and whatnot, and the reason it was funny was because I was a child when I chose to do this (all of my teachers loved me, you can imagine). I'm no longer a child, but I still talk like this, and it's not nearly as funny. I'm really dealing with the consequences of my actions here as a once-wannabe-court-jester.

... But, y'know, it's me, and I still like it. And, hey, at least baby me grew out of "mehercule!"

16. What are your writing weaknesses?

I'm terribly melodramatic (in case you couldn't tell) and undisciplined, and I don't like killing my darlings because I don't want them to fall into the abyss of forgotten memories.

17. What are your thoughts on writing dialogue in other languages in a fic?

There are plenty of ways of doing it and they certainly all have their pros and cons, I think. I really love the comic book-y style of "<insert dialogue here>" (*translated from [Language]!), but this can get a bit clunky when a fic is written like a book without other comic book-like elements.

My preference in most writing, just because it's what I'm used to, is introducing the foreign words and then having translations at the end in an author's note. I'm currently writing a Filipino Tony fic and that's what I'll probably end up using.

18. What was the first fandom you wrote for?

No clue. It was a while back and my memory's shit. The earliest fic I can confidently remember (even though I know for a fact this is still, like, maybe 5 years after I started writing fanfic) was for Durarara!! I still hold DRRR!! very dear in my heart.

19. What’s a fandom/ship you haven’t written for yet but want to? 

I'm planning on writing a Critical Role Campaign 3 fic for a friend of mine.

Aaand I'd like to write Ty Stone/Carol Danvers at some point, because my lovely girlfriend and I stumbled across the concept of them as a dynamic and it tickled me.

20. What’s your favorite fic you’ve written?

Once again, terrible at favorites. I still am proud of Disjointed, just because it was the first horror piece I'd ever finished all the way through and I think it's far more functional than I expected it to be. I'm also proud of On the Steps, just because of how gloriously self-indulgent it was.

If this includes unpublished fics, though, I'm reworking Sympathy for the Devil (the big Ty fic) right now and I really do love it. It's kind of a canon rewrite that really sets the tone for a Tiberius storyline that would be the most meaningful to me (kind of, ish). I'm planning many different Ty fics with many different characterizations (from "actually not the worst dude" to "has never felt love or empathy or kindness in his life"), but SFTD is what I hope I can point to as my Favorite Ty.

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i'm pretty sure everyone i love has been tagged on this post before so if this is a double tag then whoops! @welcomingdisaster @kiyaar @oluka @starvels @laexploradoraaa

[veryvincible]

🤍

Edit: I am very silly and did not realize that the red and white hearts were different questions. Will be responding to this in a separate post. Whoops!

Here's the unedited answer, where I answered the question I thought was asked:

💘 - Favourite line from a fic/hc I’ve finished?

The following excerpt is from On the Steps of the Curia Pompeia, which I actually ended up loving a lot in a way I don't usually love my fics. Knowing it's targeted toward kind of a niche demographic, I am grateful for the chance to share this little excerpt that I enjoy:

On the steps of the Curia Pompeia, reality took place. Reality scattered with the hard-beating hearts of the murderers who enacted it. A fragment of it ended with Brutus’ taking of his own life, another forcefully cut from the world as Trebonius’ head was from his neck. Bit by bit, reality faded back into play. The last remaining piece of it hid for 14 long, haunting years under the cloak of Cassius Parmanesis. And then it was over. Brute, Antonius’ mind taunted him.

Aaand here's one from a fic called Disjointed, a psychological horror fic for kiyaar for the YGMAH holiday stockings. I also love this one in a way I don't usually love my fics-- I think there's something about fics that really, really need a specific mood to be set that just get my brain going.

It was easy to recall the “games” he’d play with the mansion when he was younger. Though the thrum of its inner machinations (of which it had many, being a Stark house) brought comfort to him then, he remembered a time when it seemed almost eerie, as if the whole place were alive and breathing. In the winter, especially, on some of the coldest nights Tony had ever lived through, the mere exhale of the mansion’s whole being as the vents warmed made him feel hollow inside, almost to the point where he’d prefer to stay cold.

[dererumgestarum]

THE THEATRE OF POMPEY, Pt 2

The Theatre of Pompey was the first permanent theatrum lapideum in Rome, but not in Italy. During the Samnite period, a large concrete and stone theatre had been built in Pompeii and a second smaller odeon was built after the Roman annexation. In the capitol, however, permanent theatres were proscribed, due to the republic's long-standing doubts about their morality.

In 155 BC, acting on the motion of the consul Scipio Nasica, the senate ordered the demolition of a stone theatre nearing construction in Rome. Velleius Paterculus ascribes this decision to “the exceptional austerity (severitas) of character of the populace" at that time. A new law was also passed, banning seating in temporary wooden theatres erected for religious festivals within the pomerium. According to Valerius Maximus, the new law aimed to protect Roman virilitas, which was fortified by standing and would be diminished by sitting down. This notion was still current two centuries later, when Tacitus condemned the idea of sitting during a theatrical performance as another deplorable Greek habit that would corrupt the morals of Roman youth.

Pompey urgently needed to complete the theatre quickly in order to benefit from the anticipated public support it would engender before he stood for consul again. The senatorial ban was the only real impediment. Tertullian states that Pompey added the Temple of Venus Victrix to the theatre in order to define the building as a temple with a cavea-shaped staircase, and thus skirt the ban on permanent theatres. This semantic ploy allowed the senate to save face while acquiescing to an complete reversal of a long-held policy and avoid a direct confrontation with Pompey. Following the official cues, most Roman writers referred to he building as a temple. The label on the Severan forma urbis, however, emphatically reads THEATRUM.

The seating ban was neutralized by locating Pompeys’s theatre on the Campus Martius, which lay outside the pomerium. There were probably more compelling reasons than respect for the seating ban that motivated Pompey’s choice of locations. Building within the pomerium imposed restrictions: provincial promagistrates and generals lost their imperium, soldiers were immediately demobilized and returned to civilian status, and weapons prohibited in the pomerium. On the other hand, the curia pompeia’s location allowed senators who were proscribed from entering the pomerium to participate in senate business. As a general and the provincial governor who had attained his position of power by military force, Pompey was unlikely to have built a theatre in a zone that would have automatically neutralized his sources of power should he enter it. Thus one can assume that Pompey always intended the build outside the pomerium and that the only real obstacle his project faced was the ban on permanence.

During the senate debate in 155, Scipio Nasaica cited a non-moral reason for banning theatres. Large assemblies of citizens could easily be incited to acts of seditious. This anxiety proved prescient: Pompey had planned to use his theatre as a venue for addressing the public directly, without senatorial interference. Fear the this type of subversive use of a theatre had caused the senate to make the drastic decision to destroy the theatre in 155 BC. There was no thought of resisting Pompey 100 years later.

Pompey’s concluded his architectural campaign to reduce the senate by building the curia in the porticus. Having the senate meet in a building he owned sent a clear message to the Roman world that a new political order was coming into being. The face of the new order, however was neither Pompey, who was assassinated in 48 BC nor his rival, Julius Caesar, who met the same fate in the curia pompeia four years later.

The Theatre of Pompey was considered the principal theatre in Rome and meticulously maintained for centuries. Recognizing its propagandistic value, Augustus and Tiberius carried out extensive renovations. The emperors entertained foreign dignitaries there, who were duly awestruck. Pliny the Elder notes that Nero “covered the theatre of Pompey with gold for one day’s purpose, when he was to display it to Tiridates King of Armenia.”

The theatre outlived the western empire. The Romanized Goths renovated the structure thoroughly for the last time in the early 6th century. As the city’s population declined, it fell into disrepair. Like the Colosseum, it served as a quarry in the dark ages, but enough of the concrete substructure survived for the site to be identified as a theatre in the 12thc. pilgrim's guide to Rome. Much of the marble revetment facing the Cancelleria was taken from the site in the 15th century.

Although virtually nothing of the edifice survives above ground today, its presence is still immediately registered by curvature of Via della Grotta Pinta the Orsini palace that was built on top of its ruins.