#mythological parallels

[canichangemyblogname]

hajjdhsnfkfhwg

[otaku553]

Found out this Saturday that if you make a PowerPoint to summarize one piece in over 24 hours on not-very-good-wifi, you can only summarize up to the end of Marineford and it will take about 2.5 hours

Also apparently if you speak nonstop for 2.5 hours your voice Will Go Hoarse. Who knew

[sapphoismymuse]

i haven’t seen anyone talk about it yet but medusa’s actress is so insanely talented?? most of her face is veiled but she did an AMAZING job at portraying the subtle changes in her emotions like “not him. me” DESTROYED me you can tell how strongly she feels about the subject but also how she’s trying to keep her cool and appear calm and collected to these kids and tell them of the ways their parents suck

[shaylogic]

Eurydice forced Orpheus to look back

[need-grows-teeth]

1. i'll give you the sun, jandy nelson/2. the bear (2022)/3. right now, gracie abrams/4. The haunting of hill house (2018)/5. I don't love anyone, belle and sebastian/6. rabbi joseph telushkin, jewish literacy/7. sucession (2023)/8. electra, sophocles/9. the bear (2018/10. sisters, holly warbutton & to my younger self, britton.

[meticulouslymindlessart]

Thetis with the arms of Achilles

I saw several mosaics depicting this motive and decided to try my hand at it as well.

Also, I just find Thetis to be quite interesting as a character. There’s gotta be something fundamentally Tragic about raising a child, knowing that he will most likely die very young.

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(Close-Ups)

[literallyjusttoa]

"Sunny!" you cry, "Why did you draw the entire Trojan royal family from oldest to youngest in two days? That seems wildly unhealthy!"

"hurghhhhhhhh" I reply.

Anyways here's the full family portrait

(Only four of these people survive the Trojan war btw :D)

[pelideswhore]

a suffix to their name.

Barbie (2023), dir. Greta Gerwig // Les Misérables, Victor Hugo // Barbie (2023), dir. Greta Gerwig // Achilles Come Down, Gang of Youths // Barbie (2023), dir. Greta Gerwig

[danaa-scully]

Helaena Targaryen and Cassandra of Troy + parallels

[meraki-yao]

Hades, The King of the Underworld & Persephone, The God(dess) of Spring

[jackwhiteprophetic]

Eddie is Orpheus and he's starting his journey up from the underworld (driving to the hospital through a thunderstorm) and behind him is Eurydice (Buck) and the only way to get them both out is to keep moving forward and not look back and he has to get them out this time.

And he can't look back to see him, he can only hear the rain on the windows and the cracking of Buck's ribs as someone else gets closer to his heart than Eddie might ever get to be again.

(He didn't get Shannon out last time)

[aliasknives]

On cycles

Clarice Lispector, A Hora da Estrela | The Hour of the Star // Lisa Marie Basile, “I Put the Coffin Out to Sea” // Sophocles (trans. Anne Carson), Elektra // Wikipedia entry, “Ouroboros” // Margaret Atwood, “Speeches for Dr. Frankenstein” // Frank Bidart, “The War of Vaslav Nijinsky”

[fromedennn]

“saturn devouring his son,” francisco goya | “eat your young,” hozier

[gingermintpepper]

So, one of the most interesting things that's come from my recent exercises in writing the Olympians as young deities is all of the very fun and somewhat painful conversations that come from the young deities acquiring and consequently settling into their domains.

Apollo and Artemis especially have been really fascinating under the microscope. They start off identically, with extremely similar interests and similar domains over the hunt and wilderness. They spend their days under the stars and foraging for fruit and dancing and singing in the fields, two rustic god-children exploring and learning together. Then Apollo goes off on his own to slay Python.

Now, a lot of things change when Apollo kills Python. That is the act which transforms the bow from a tool of survival and sport to an instrument of murder, bloodshed and ultimately war. It is Apollo's first act of wrath which separates him from Artemis - both spiritually because she has not yet shed blood herself as a goddess and physically because it leads to his exile. Most importantly however, the slaying of Python is the act that grants Apollo his knowledge.

If violence is what first separates Apollo from Artemis then it is knowledge which keeps them apart.

This can refer to a lot of things; that Artemis continued to be at home with the wild beasts of the forests and mountains while Apollo grew to prefer the domesticated sheep and cattle, that Artemis continued to avoid mortals while Apollo grew to know their ways and endeavoured to teach them more. The point that has been the most interesting to me however has been Artemis, who remains free of slaughter, and thus remains pure and Apollo, who becomes acutely and entirely too aware of it, and thus must be constantly purified.

Apollo's infatuation with medicine specifically is the place where this becomes most apparent. When he leaves for his exile to travel as a mortal, without nectar or ambrosia, without power, Apollo is without the privileges of the divine for the very first time. He sweats, he smells, he grows weary when he travels, he grows hungry and thirsty. He experiences fatigue and nausea, the fever of sickness, the chill of infection, the delirium of poison. The blood Apollo shed does not only make him impure spiritually, it strips him of the purity of his birth and station. Likewise, medicine is not a divine practice. What use do the unkillable immortals have for something as finicky as medicine when they have nectar and ambrosia? Apollo however, knows of the pains of the flesh and the suffering of the mortal coil. He pursues medicine in all its horrors and difficulties because of the knowledge he gained with blood.

Artemis then, cannot understand the medical Apollo. When her brother returns possessed by this spectre of ill-gained knowledge, she does not recognise him. Who is this boy who scores the deer and studies the shape of their intestines before he cooks them? What good is there in rescuing a chick with a broken wing? The Apollo-of-the-Wild in her memories would have done the correct thing and left the thing for dead - let the forest take what is its due. Who is this Apollo whose hands are always stained to the wrist in the blood and gore of the living? What is his fascination with the mechanics of mortal bodies? Artemis does not know and Apollo does not tell her.

That has, by far, been my favourite effect of the whole Python watershed moment to explore recently.

[hermesmoly]

Something about Odysseus and Helen being trapped years in a foreign land because of the gods will