#plague of Athens

[gwydpolls]

Time Travel Question 24: Ancient History XII and Earlier

These Questions are the result of suggestions from the previous iteration.

This category may include suggestions made too late to fall into the correct grouping.

Please add new suggestions below if you have them for future consideration. All cultures and time periods welcome.

[selectivelycheerful]

I've been getting way too into trying to guess what the plague of athens was and ive finally settled very firmly on measles and I dont know why its not the top contender for what it was

On the left is an over view of symptoms of measles and on the right is a (not very accurate) description of the plague of athens

That and in some cases of measles there can be lesions on the rash and in rare cases there's gangrene.

And! Both can cause blindness.

The only thing that doesn't line up is the sense of extreme internal heat leading to people jumping into water. But measles does cause itchiness and people still take cool bathes to soothe it?

(though there's debate on greek translations on rash and sores having the same meaning, and red and bloody having the same words)

Anyway ive been thinking way too much about this this week and i think its measles

[someday-dreamlands]

𝑳𝒂 𝑷𝒆𝒔𝒕𝒆 𝒅𝒆 𝑨𝒕𝒆𝒏𝒂𝒔 (𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑺𝒘𝒆𝒆𝒓𝒕𝒔, 𝒄. 1652–1654)

[kebriones]

Reminder that Athenians called Pericles "The Olympian"

What hybris lol

[oysterie]

Pathogenesis so far is like. The author didn't have enough information to make a whole book on the topics so he just starts taking abt tangentially related information for "context"

[sbcdh]

It is said by those of a mythopoeic hermeneutic that Sofia Xafa began writing Economics of the Unconscious in the shadow of the Parthenon.

One can picture a young and dolorous Xafa, wandering the streets of a postwar Athens, arms stuffed with books on Jungian psychology, Indian anthropology, and handwritten papers baring her frustrations to only herself. Perhaps she finds respite in the shadows of the ancient marble, and in that oasis of antique dark she finds serenity. One can imagine how the sunlight would filter through the weathered attic pillars and come to rest upon a blank page. A clearing in the idealogical woods upon which to build a home.

How can we blame Xafa? Disageeements aside, If the past decades proved anything to her, it was the weakness of democracy's grip on the reigns of history, and long term instabilité (to use her own terminology) of fascism. Her home lie in ruins. Trust in social institutions was routinely betrayed. One could not afford bread.

There is, I think, an empericality to capitalism that attracted Xafa. Not to imply an empirical truth per se, but the mathematics of trade provided to her a quantification to psychology. Yes. I think perhaps Xafa saw herself as a cartographer of the psyche, and the mathematics of gross domestic products and annuities were her compass and rule.

I think Xafa understood that this was a path she must not err from. Analysis of her drafts and unpublished manuscrips reveal a careful and circuitous avoidance of many implied issues with hypnoeconomic theory. She became increasingly frustrated with the ideas which metastisized from the attempted purity of her theories. There is no small amount of private chastisement of what she came to see as foolish and naive points from her earlier work.

By the end of her life she was plagued with a terminal disasstisfaction with Hypnoeconomics. She wrote of her own theories as vestigial, even disgusting. There was a yearning for capital-t Truth, a true and empirical bedrock of analytical tools with which to understand the world. Yet, she repeatedly found them inadequate, and she found that inadequacy disgusting. Her sleep was plagued with nightmares she would not describe.

[dionysus-complex]

thinking about the years 431-430 BCE in Athens like man. at least the poor plague victims probably got to enjoy the fucking banger that must have been the original performance of Euripides' Medea

[thedansemacabres]

On Helpol tumblr there has been some discourse on the worship of Ares and it is completely justified for a personal practice why someone would not honour him. However, though, I would enjoy to bring up points from history on a reconstruction angle on why to worship Ares. I appreciate the critical examination into who and what we worship—we should be more critical of stately portrayals of the divine and understand ancient politics less we reconstruct something wretched. These points are sourced from Cults and sanctuaries of Ares and Enyalios: A survey of the literary, epigraphic, and archaeological evidence by Matthew Paul Gonzales.

It is deeply historically attested, for anyone thinking that it was not. The anti-Ares classical sentiment can be traced back to WWII for reasons that do not need explaining. The emphasis on his pathetic myths also partially stem from this.

Ares was and is deeply concerned with justice and Dike is described as his lead. He is shown as the blood vengeance in particular, which still does have modern importance—many of us endorse the guillotine. This could inspire modern worshippers to take to action for causes to support good, justice, and love in their communities. Love and war, mayhaps?

He is also connected to peace and restraining violence alongside war-like desires. This is depicted in the homeric hymnal.

Ares is also close to defending land, especially that of floral and agricultural bounty: he is often positioned with fertility goddesses, such as Aphrodite, Despoina, and Cybele.

He is a vengeful protector, when people are wronged or land is stolen and waged against. Athens used this for defending their land—chaining Ares to the land meanings bringing in his power to serve you and your land’s interests. I do not endorse the usage of this to support oppressive regimes, but it could be adapted in a more liberation focused fashion.

Through Ares, some facets of prosperity is given, and I do not take it as a coincidence he is paired with Athena, who directs while Ares rushes.

Worship is also used to avoid conditions; Apollon to keep the plague away, Ares to keep war and strife away, such as his homeric hymn entails.

Courage is also stated to be a condition he gifts.

Lastly, I find it of vast importance to establish modern ideas of gods that are honest to the historical record and finds fluidity in them. Gods can change and they can be discussed with. Perhaps this is my Roman pagan influences, but we can influence and argue with the gods on points we believe in—for justice and ultimate good, as Zeus does mandate divine justice. We can show Ares, more than he already knows and has, the importance of supporting the revolutionary, and we can invoke his power in fighting for the sovereignty of nature. I am also personally fond of the feminist interpretations of him, and while not likely accurate to history, we should be adapting and developing with the gods in the modern period. Ares as a symbol of violently defending women against patriarchy is ripe for expression and movement, though not without due issues.

We should be striving towards ultimate good and Ares’ power in the modern era, with a modern lens, can continue to give weight to this pursuit. If he can encourage us and take a stand against the machismo ideas of “spartan” ideals that dudebros often have, we can make beneficial cultural changes. The gods do not just belong to history, they are history, and Historia is here to inspire and defeat us at every turn. 

I will say my dea Bellona is more of the historical revolution divinity that people want. She has a lot more of the epigraphic record to support this, but nonetheless, there are many reasons to honour Ares outside of war. Especially in his connections to nature and fertility, which strikes my heart happily as a sustainable agriculturalist. If it is Ares that can motivate more Hellenic pagans to embrace liberation and revolutionary ideas, that is something to preserve.

And regardless, if I can worship Ker without expecting much benefit, we can easily worship a god that is not literal murder. 

[the-nerdy-libra]

Ἀπόλλων Φοῖβος, Θεὸς τοῦ Ἡλίου

Apollon, Bright One, God of the Sun

He is associated with Sunlight and the Sun, Music and Poetry, Prophecy and Oracles, Healing and Medicine, Plague and Disease, Archery, Knowledge and Wisdom, Purification and Cleansing, Order and Civilization, Protection of Herds and Flocks, Seafarers, Masculine Beauty, Music Theory and Harmony, Time and Seasons.

His symbols are the Lyre, Bows and Arrows, the Laurel Wreath, Ravens, Serpents, the Sun/Chariot of the Sun, Palm Trees, Bay/Laurel Trees, Wolves, Cypress Trees, Tripod, Lyric Poetry Scrolls, Golden Hair and Swans.

Major Sanctuaries and Temples

Delphi was the most famous sanctuary of Apollon, home to the Oracle of Delphi and the Pythian Games.

Delos was Apollon’s birthplace and celebrated Him with grand festivals like the Delia.

Didyma was known for its oracle and the Temple of Apollon, featuring massive columns.

Claros was another major oracle site, with its temple and priesthood.

Thermopylae was sacred to Apollon during the Amphictyonic League meetings.

Bassae was home to the Temple of Apollon Epikourios, renowned for its architectural innovation.

Aegina featured a Doric temple dedicated to Apollon.

Patara was an ancient Lycian city with ties to Apollon and prophecy.

Miletus’ citizens worshipped Apollon as their protector.

Rhodes revered Apollon as part of the island’s patron deities.

Athens worshipped Apollon in several roles, including Apollo Patroos (Protector of Families).

Sparta honoured Apollon as a god of order and harmony.

In Rome, Imperātor Gāius Iūlius Caesar Augustus constructed the Temple of Apollo Palatinus, aligning Apollo with imperial propaganda.

Mt. Parnassus, near Delphi, was regarded as sacred to Apollon and the Muses.

The island of Crete celebrated Apollon in various cities, such as Gortyna and Dreros.

General Epithets

Apollon (Bright, Radiant), associated with His solar and light-bearing qualities.

Delphinios (Of Delphi), linked to His sanctuary and oracle at Delphi.

Mousagetēs (Leader of Muses), celebrating His patronage of the arts and inspiration.

Loxias (Oblique, Mysterious), reflecting His cryptic oracular messages.

Pythios (Of Pythia), commemorating His victory over Python at Delphi.

Alexikakos (Averter of Evil), worshipped as a protector from harm and calamity.

Medicus (Healer), honouring His medical and healing powers, especially in Roman worship.

Catharsius (Purifier), invoked in cleansing rituals.

Smintheus (Mouse God), protector from plague and agricultural pests.

Lykeios (Wolf God), linked to His protective and wild nature.

Nomios (Pastoral), celebrating His guardianship over herds and flocks.

Karneios (Of Flocks), worshipped in rural Spartan traditions as a regional variation of Nomios.

Helios (Sun God), representing His solar connections in later traditions.

Agyieus (Of the Streets), protector of pathways and travelers.

Delios (Of Delos), celebrating His birthplace.

Didymaeus (Of Didyma), connected to His oracle in Ionia.

Festivals

The Pythian Games were held every four years at Delphi, including musical and athletic competitions in Apollon's honour.

Thargelia was an Athenian festival honoring Apollon and Artemis, featuring purification rituals and offerings of first fruits.

Delia, on Delos, was a festival that included musical contests, dances, and sacrifices sacred to Apollon.

Worship Practices

Sacrifices were often of animals such as bulls and goats, symbolic of his divine strength.

Prophecy played a central role in his worship, with priestesses and the Oracle at Delphi channeling his divine wisdom.

Apollon was invoked in rituals of cleansing and renewal, often symbolized by water.

Roman Veneration

Apollo Medicus was venerated as a god of healing during plagues.

Imperātor Gāius Iūlius Caesar Augustus claimed Apollo as his divine patron, constructing the Temple of Apollo on the Palatine Hill of Rome.

Altars and Sacred Spaces

Altars dedicated to Apollon are typically adorned with symbols like the lyre, laurel leaves, sun motifs and representations of His sacred animals (e.g., swans, wolves, or ravens), often altars placed in sunlit areas to honor His solar aspects.

Altars are frequently decorated with golden or yellow fabrics, sun-shaped decorations, and natural materials like wood or stone are common.

Offerings

Traditional Offerings are laurel leaves, honey, olives, figs, and wine.

Music, poetry, and other creative expressions are also considered as offerings due to Apollon's role as a patron of the arts.

Frankincense and bay laurel oil are burned, while crystals like sunstone and pyrite are used to symbolize His solar and abundant aspects.

Rituals and Practices

Devotees skilled in the arts often recite prayers or compose hymns in His honor, often inspired by ancient texts, while others prefer to stay with the ancient texts themselves. Both choices are equally valid.

Practices like meditating on Apollon's attributes or using divination tools to seek His guidance are common.

The creation of or recitation of music and poetry are also acts of worship. From humming a tune to singing along to your favourite songs, it counts as an offering and is just as valid.

Apollon's teachings on balance and enlightenment inspire personal growth and artistic pursuits, often being blended with the pursuit of philosophical and sometimes even spiritual enlightenment.

Rituals for spiritual or physical healing often invoke Apollon's aid, emphasizing His role as a healer.

Devotees seek His guidance in intellectual and intuitive endeavors, reflecting His association with wisdom and oracles.

Seasonal Celebrations:

Some practitioners observe festivals inspired by ancient traditions, such as the Thargelia or Delia, adapting them to modern contexts. I have yet to find a universally agreed upon date, but April 6th or the Spring Equinox are common due to Apollon's purifying and cleansing epithets, as well as His light and solar epithets.

Personal Notes

Apollon is a deity who only very recently called to me, which is amusing to me since I would have been under His protection. It speaks to me of His integrity that rather than reach out to me then, He has waited nearly seventeen years to do so. I think that perhaps is to do with two things which actually blend hand in hand; the first being that I have a strong suspicion that when He reached out to me, it was not as His Greek self nor even His Roman self; rather, it was as Paean (𐀞𐀊𐀺𐀚, Pajawone) that He reached out.

While I try to keep the history out of the religion in these posts, I feel it is best to explain fully in the case of Hellenic deities whose Mycenaean forms call to me most (of which there is a surprising number). Apollon, as Paean, is chiefly a god of medicine and healing. However, in Troy he was a god of hunting and protection, defending the early Trojans from the beasts of the forest. It is this Trojan Apollon, whom they called Paeiōn (𐀞𐀊𐀩𐀍, Pajerone) that called to me and is still known to this day as Apollon Lykeios. For those wondering why the names changed so much, the evolution from Pajerone to Apollon is due to the language changing and evolving during the Greek Dark Ages; the earliest known midway point is Apeljōn, so the linguistic evolution would be Pajerone -> Apeljōn -> Apollon.

With the mini history lesson out of the way, apologies for boring any of you, now to explain the significance of Pajerone/Apollon Lykeios as main epithet I worship. The Wolf God, Apollon Lykeios, is very different from the other representations of Apollon and is quite, shall we say, wild by comparison. He is still a healer, still knowledgeable in philosophy and music, but He is much more akin to His Sister Artemis and Her preference of the forest and the hunt. He is the Wolf, the hunter who struck down the Python and gained prophetic insight, the friend of Hyperborea whose bow can bring any prey low. To me, as Lykeios, he is still a God of Light, but his light is not simply the gold of the sun. It is the green of the field, the red and pink of blood on his skin. It is the purple of his robe and the blue of his eyes, dancing in the sky as the Aurora Borealis. He is the light that dances with the moon and stars, the Hunter who no prey escapes, the Wanderer who heals all with his herbs.

While far from the first Hellenic deity to call to me, He is perhaps the most important one for bridging the gap between the two main pantheons I worship, an ancient link between the northern hunters and the cradle of the West. It is through this link, through His wandering path from Hellas and Hyperborea all the way to Middungeard and beyond, that I can best reconcile worshipping two pantheons without Syncretism. He is a bridge between worlds, a fierce protector and a noble friend to all.

Orphic Hymn to Apollon

Blest Pæan, come, propitious to my pray'r,

illustrious pow'r, whom Memphian tribes revere,

Slayer of Tityus, and the God of health,

Lycorian Phœbus, fruitful source of wealth.

Spermatic, golden-lyr'd, the field from thee

receives it's constant, rich fertility.

Titanic, Grunian, Smynthian, thee I sing,

Python-destroying, hallow'd,

Delphian king:

Rural, light-bearer, and the Muse's head,

noble and lovely, arm'd with arrows dread:

Far-darting, Bacchian, two-fold, and divine,

pow'r far diffused, and course oblique is thine.

O, Delian king, whose light-producing eye views all within,

and all beneath the sky:

Whose locks are gold, whose oracles are sure,

who, omens good reveal'st, and precepts pure:

Hear me entreating for the human kind, hear,

and be present with benignant mind;

For thou survey'st this boundless æther all,

and ev'ry part of this terrestrial ball

Abundant, blessed; and thy piercing sight,

extends beneath the gloomy, silent night;

Beyond the darkness, starry-ey'd, profound,

the stable roots, deep fix'd by thee are found.

The world's wide bounds, all-flourishing are thine,

thyself all the source and end divine:

'Tis thine all Nature's music to inspire, with various-sounding, harmonising lyre;

Now the last string thou tun'ft to sweet accord,

divinely warbling now the highest chord;

Th' immortal golden lyre, now touch'd by thee,

responsive yields a Dorian melody.

All Nature's tribes to thee their diff'rence owe,

and changing seasons from thy music flow

Hence, mix'd by thee in equal parts, advance

Summer and Winter in alternate dance;

This claims the highest, that the lowest string,

the Dorian measure tunes the lovely spring.

Hence by mankind, Pan-royal, two-horn'd nam'd,

emitting whistling winds thro' Syrinx fam'd;

Since to thy care, the figur'd seal's consign'd,

which stamps the world with forms of ev'ry kind.

Hear me, blest pow'r, and in these rites rejoice,

and save thy mystics with a suppliant voice.

[telemachus-is-lost]

"What's a plague?..."

"Woah. That's so cool, like you-"

Real subtle.

"Ah, things always slip out of my mouth like that."

(Past Sola you want past Sola you shall receive‼️)

Solana was walking along the town, being weary and cautious of everyone and everything. She was just on a quest and now she was in some random.. town she had no clue even existed outside of New York.

Was it even real? Was she hallucinating or something? Did the others get transported too? If they did, she had to find them and find some way to get back to–

Guess she wasn't all that vigilant, because she tripped on literally nothing and fell face first on the ground. Well, that hurt like a b*tch.

– (@suns-sunshine.)

Telemachus was sitting with Argos, looking more bored than ever.

Atleast, until a random girl had fallen. He immediately perked up and went over.

“Huh?” With no idea of what else to say, he helped her up.

Argos immediately sniffed her. But Telemachus sighed.

“No, Argos.”

[aphrodites-temple-ajourney]

Happy Dionysia ta astika

Tw: Light mentions of Sexual content and drinking

(March 10-March 17)

The City Dionysia (As the name translates) or Great Dionysia was a festival honoring Dionysus from the middle of the sixth century BCE. The festival was probably introduced by tyrants.

A myth was created at some point for the occasion, claiming that a man from Eleutherai tried to bring the cult image of Dionysus to Athens, but the God and his image were rebuffed. In punishment the Gods cursed the genitals of the men of Athens. The oracle of Delphi announced that they must carry a phallus through the city in a procession and when the plague was stopped, the festival and procession became a regular occurrence.

Before the festival, the image of Dionysus was removed from the temple in Athens, to outside the city. The procession occurred, along with a feast, involving singing and dancing, and men (and women, but mostly men) enjoyed plays and shows the next few days.

The emphasis on drama for the Holiday suggests that reading a classic play, or watching a play or musical, might be a good way to celebrate the holidays in the modern day. Leaving libations of wine or grape juice is also recommended. Consider holding a costume party and decorating with grape vines and ivy.

(Source: Hellion.org)

Remember to stay safe while celebrating, and if you are drinking, drink responsibly, have a designated driver, or take an Uber or other ride share program. Remember your Area's legal limit, and stay safe.

(Feel free to correct any information that I might have messed up or add anything I might have missed)

[rightwheretheyleftme]

Compiling every ancient source where Medea doesn’t kill her children

Disclaimer: I’m not doing this to delegitimize Euripides’ play, only to bring attention to alternative tellings of the story

Scholia to Euripides’ Medea 9.1-11 (C1st A.D)

“There’s a story from the philosophers that is much repeated—one Parmeniskos also offers—that Euripides changed the murder of the children to Medea because he accepted five talents from the Korinthians. [He claims] that the children of Medea were killed by the Korinthians because they were angry over her ruling the city and they wanted there to be an end of her ruling in Korinth, because it was her paternal [right]. For this reason he changed the [responsibility] to Medea. Hippus presents [accounts] about her residency in Korinth, as does Hellanikos. Eumelos and Simonides report that Medeia ruled Korinth. In his work called On Isthmian Affairs, Mousaios reports that Medeia was immortal, and he explains this also in his work on The Festivals of Hera Akraia.”

264.1-11

“Parmeniskos writes the following for this line: “Because the Korinthian women did not want to be ruled by a barbaric, potion-pouring woman, they conspired against her and [planned] to kill her children, seven boys and seven girls. [Euripides says that she only had two]. They fled, pursued, into the temple of Hera Akraia and they stayed there. But even then the Korinthians did not hold back: they slaughtered all of them at the altar. Then a plague fell over the city, and many bodies were perishing because of a sickness. They received an oracle that the god must be propitiated for the hunt of Medeia’s children. This is why each year during the appointed time seven girls and boys from the noblest families return to the precinct of the goddess and appease their rage—and the anger of the goddess on their behalf—with sacrifices.””

Pausanias, Description of Greece, book 2, chapter 3 (C2nd A.D.)

“As you go along another road from the market-place, which leads to Sicyon, you can see on the right of the road a temple and bronze image of Apollo, and a little farther on a well called the Well of Glauce. Into this they say she threw herself in the belief that the water would be a cure for the drugs of Medea. Above this well has been built what is called the Odeum (Music Hall), beside which is the tomb of Medea's children. Their names were Mermerus and Pheres, and they are said to have been stoned to death by the Corinthians owing to the gifts which legend says they brought to Glauce.

[7] But as their death was violent and illegal, the young babies of the Corinthians were destroyed by them until, at the command of the oracle, yearly sacrifices were established in their honor and a figure of Terror was set up. This figure still exists, being the likeness of a woman frightful to look upon but after Corinth was laid waste by the Romans and the old Corinthians were wiped out, the new settlers broke the custom of offering those sacrifices to the sons of Medea, nor do their children cut their hair for them or wear black clothes.

[8] On the occasion referred to Medea went to Athens and married Aegeus, but subsequently she was detected plotting against Theseus and fled from Athens also; coming to the land then called Aria she caused its inhabitants to be named after her Medes. The son, whom she brought with her in her flight to the Arii, they say she had by Aegeus, and that his name was Medus. Hellanicus, however, calls him Polyxenus and says that his father was Jason.

[9] The Greeks have an epic poem called Naupactia. In this Jason is represented as having removed his home after the death of Pelias from Iolcus to Corcyra, and Mermerus, the elder of his children, to have been killed by a lioness while hunting on the mainland opposite. Of Pheres is recorded nothing. But Cinaethon of Lacedaemon, another writer of pedigrees in verse, said that Jason's children by Medea were a son Medeus and a daughter Eriopis; he too, however, gives no further information about these children.

[10] Eumelus said that Helius (Sun) gave the Asopian land to Aloeus and Epliyraea to Aeetes. When Aeetes was departing for Colchis he entrusted his land to Bunus, the son of Hermes and Alcidamea, and when Bunus died Epopeus the son of Aloeus extended his kingdom to include the Ephyraeans. Afterwards, when Corinthus, the son of Marathon, died childless, the Corinthians sent for Medea from Iolcus and bestowed upon her the kingdom.

[11] Through her Jason was king in Corinth, and Medea, as her children were born, carried each to the sanctuary of Hera and concealed them, doing so in the belief that so they would be immortal. At last she learned that her hopes were vain, and at the same time she was detected by Jason. When she begged for pardon he refused it, and sailed away to Iolcus. For these reasons Medea too departed, and handed over the kingdom to Sisyphus.”

Pseudo-Apollodorus, Bibliotheca (C2nd A.D.)

“Another tradition is that on her flight she left behind her children, who were still infants, setting them as suppliants on the altar of Hera of the Height; but the Corinthians removed them and wounded them to death.”

Semi-relevant bonus:

Scholia to Pindar’s Olympian 13.74g. (C4th-C5th A.D)

"Medea is mentioned because she lived in Corinth and ended a famine that afflicted the Corinthians by sacrificing to Demeter and the Lemnian nymphs. There Zeus fell in love with her, but Medea did not yield, avoiding the anger of Hera. Therefore, Hera promised to make her children immortal. After their deaths, the Corinthians honored them, calling them 'μιξοβαρβάρους' [mixed-barbarians]."

To conclude, some scholarly wisdom:

“Some scholars have argued that Euripides was the first to make Medea directly responsible for killing her children in an act of revenge for Jason’s infidelity, an issue discussed by McDermott (1989, 9–24). Others, such as Michelini (1987), have argued that the innovation in this respect came from an earlier playwright, Neophron, and that Euripides was following a new variant rather than inventing it.”- Medea, Emma Griffiths

P.S: I’m not a classicist, if you know of any source that I’ve missed, please let me know!

[procrastinatingacademic]

A History and Greek Mythology Nerd Reacting to Dimension 20's Titan Takedown - Episode 1 (+AP)

Next part >

Masterlist

Spoiler alert!

Let's goooooo

Shout out to the projection designers, they look amazing

Love the players. They're so enthousiastic, so open to learning and engaging with the world

We love Athens slander in this household

I know this is annoying, and even us nerds still get confused by this, but there is Chronos, and there is Kronos. The former is the primordial personification of time, while the latter is the leader of the titans and father of the original six Olympians, whose domain is agriculture

Stray Gods 🤝Characterising the Minotaur as a gentle, helpful (misunderstood) guy🤝 Titan Takedown

For Adonis' backstory, I think it would've been more logical to have Apollo or maybe Asklepios as the bad guy (Apollo being the more likely). If you still want the healing of the sick to be the motivation for the curse, that makes sense as they both preside over healing and medicine (and plagues in Apollo’s case). Hubris is a big thing in Greek Mythology, so you could have Adonis and Alexandra taking credit for the healing or saying they're more skilled healers than the gods, or their skills must be of divine origin or something, causing one of these gods to be feel sligthed (cuz Greek gods do nothing better than take things personally)

Hades, meanwhile, probably wouldn't really care. By all accounts, he's one of the chillest gods (blame popular media for characterising him as a bad guy, mostly because of the association with death and the Underworld (blah blah blah Christians making a link with the Devil and fucking up the original characterisation)).

I'd see him more as true neutral (as I see most death-associated gods, not inherently malevolent). More of a "Why would I care if you prolong some people's lives? I'll have you all in the end anyway"-vibe.

However, knowing Brennan, he’ll probably have some plottwist about this up his dleeve

Meanwhile, I love portraying Zeus and Aphrodite as fickle, jealous and vain. Right on the money

Rogues gotta rogue

Yes! Cassandra!

Love Argus as ref, it just makes sense. An unconventional character design, but I like it! An open portrayal of him as being associated with and devoted to Hera (whose animal is the peacock)

I wonder what he adds to perception

You know I gotta say it: it’s Herakles. We ain’t in the Roman rip-off here

*Cries in Epic the Musical*

All you gotta do to beat Achilles is ask about Patrocles

Oh gods Orpheus is so sad

Athena come get your guy

Murph and Ify!

Love that ability for Achilles. Such a fun way to engage with his myth

Gotta be a pain in the ass to deal with as a PC though. Really makes you empathise with the Trojans

I think my general takeaway is that Brennan might not be the biggest Greek mythology nerd, but he very definitely did his research to make this season as fun and engaging as he could while utilising the worldbuilding that was already there and making it his own. I’m excited to see what they’ll get up to next!

[thetruearchmagos]

#The dog food was also about challenging narratives#But just slightly less visceral

... I'm gonna be honest, I thought you wrote it and decided to let me into your academic work. So. I hope that explains my shock.

It's an interesting point nonetheless, and I can absolutely see what the author means. I'm 'boring' enough to be a little sceptical from the view that even 'opportunistic' conquest isn't exactly trivial, but if you're working from an entrenched view of unmatched military power it does seem like a worthwhile counter. Interesting

Hey. Wanna see what I've been working on now that I'm past dog food?

These are just my notes...

Woaghh... Damn. I cannot possibly see how dog food could've lead to this, and if it didn't, then I cannot see why exactly you were obliged to read it. Damn.

[shmaimy]

Okay, I had a thought a few days ago and have been trying to get it right. But. I think I figured it out. (Don't expect 100% accuracy)

So, Pallas and Athena. Athena bursts out of Zeus' head, and confusion and chaos and Hera, so Athena ends up at Triton's camp/school/military base thing. There, she meets Pallas, Triton's daughter, and as such, is Poseidon's granddaughter. The two become close, very close. I've seen them be close as sisters and be lovers, and I'm not 100% sure what they were, but, I mean, they were Greek...

Nevertheless, Pallas means everything to Athena. Athena grows close with Pallas' family, I mean, her mom lives in her dad's head and said dad kicked her out, so...

Then, tragedy strikes. Pallas dies at Athena's hand. Whether it is a true accident, or Zeus' pride... Athena doesn't know what to think. She is sent away, basically banished by the grieving, who forget that she, too, is grieving a great loss.

Poseidon remains bitter, and continues pushing Athena away. They both remain bitter towards the other for thousands of years, and encourage their children to do so as well.

Put a pin in that.

Remember how there were a bunch of people that were really angry about Annabeth's casting? They were wrong, of course, but hear me out. Leah does look practically opposite to how Annabeth was described in the books. In fact, Walker looks more like Annabeth than Leah does (though, you gotta admit, they are their characters irl too, especially Walker)(also, i think the Annabeth being assumed to not be smart because she was blonde doesn't work as well as institutionalized and the many other types of racism. Athena's "gift/curse/however Annabeth described it" is still at play, so people really need to stop it with the hate towards Leah and Riordan)

ANYWAY I think it would be interesting if they made blondeness/light hair a Poseidon trait, and that's why Athena has avoided it like the plague since Pallas' death: its too painful. Contrastly, Poseidon gives his children light hair in honor of Pallas, as well as to torment Athena.

Specifically, Percy looks basically exactly like Pallas. It would drive this point further if the casting of Athena looks just like Annabeth, too. Thus, when Athena first tells Percy, "I do not approve of your relationship with my daughter," we see so much more than just a spat over Athens (I mean, really, a salt water spring?), we see a romance to last the ages, and a tragedy who's thorns grow ever sharper. Athena is not just being selfish, not wanting a reminder of love lost, but she knows the fierceness of an ocean's love, and would not wish it lost on anyone, especially one of her own. Percy has had a choice thrust upon him: he will be the prophecy child. To the best of everyone's knowledge, Percy will die at 16. Athena will do everything in her power to not hear her daughter cry tears over a child of the sea, not even she knows then so well herself.

(It could also be interesting if Percy looks like a mix of Athena and Pallas (because we know genetics are weird with the Gods), since that would cause extra pain in Athena's heart)(also makes Poseidon extra sad)

(OR Athena makes all her children look like Pallas to honor her. I don't like that one as much)

I also really like an idea I had that it was NOT Poseidon and Athena who invented the chariot, or however that went. Pallas and Athena invented it together, and Athena still uses that first chariot to this day.

Also, it could add some nuance to the Mark of Athena. When the Romans stole Athena, they erased Pallas from her story. Minerva looks like Pallas, and her love for Pallas is gone. She is not just searching for herself, she is searching for the string so interwoven with her own they are the same: she is searching for the soulmate erased from her story.

ALSO, or would be interesting to see this dynamic play out in the 4th book, when Percy is thought to be dead.

I want this to be released as a short film (I would be a great Pallas???? Think about it???? Am I selfish to think that??? Ambitious??? Yes???? What's your point?????????)

[whencyclopedia]

Plague in the Ancient & Medieval World

The word 'plague', in defining a lethal epidemic, was coined by the physician Galen (l. 130-210 CE) who lived through the Antonine Plague (165 - c. 180/190 CE) but the disease was recorded long before in relating the affliction of the Plague of Athens (429-426 BCE) which killed many of the city's inhabitants, including the statesman Pericles (l. 495-429 BCE). This epidemic, and some of the others that followed, may or may not have been actual plague as it was later defined; ancient writers tended to use the term plague for any widespread outbreak of pestilence.

Plagues certainly may have existed prior to the Athenian outbreak – and almost certainly did – but most studies of the epidemic begin with Athens as it is the first recorded by an eyewitness and survivor, the historian Thucydides (l. 460/455 - 399/398 BCE). Plagues are routinely named either for the person who reported them, the monarch at the time of the outbreak, the region afflicted, or by an epithet as in the case of the Black Death.

The major recorded plagues of the ancient and medieval world are:

Plague of Athens

Antonine Plague

Plague of Cyprian

Plague of Justinian

Roman Plague

Near East Plagues

Black Death

Columbian Exchange Epidemics

Of these, the Columbian Exchange Epidemics are not considered plague as they were a sweeping contagion of smallpox and other diseases but were just as lethal to the indigenous people of the Americas as plague was elsewhere. Other epidemics not considered plagues but which still ravaged populations were leprosy – especially during the 11th century CE in Europe – and the Japanese smallpox epidemic of 735-737 CE. Epidemics and pandemics continued into the modern era and, among the deadliest, were the 1918-1919 CE Spanish Flu epidemic and the HIV/AIDS epidemic (1981-present) though there were many others. At the time of this writing, the Covid-19/coronavirus is proving itself the latest addition to the list of most lethal pandemics in world history.

Nature & Types of Plague

The cause of the plague was unknown until the 19th century CE when the bacterium Yersinia pestis was isolated and identified in 1894 CE. Prior to that time, plague was thought to be supernatural in origin, a punishment from the gods or God, and/or the result of a population's sin. The actual cause was Yersinia pestis which was carried in the fleas of rodents, most often rats, which transmitted the bacterium to humans through bites. Other animals could catch the plague by eating rats – or other rodents – which were infected and this would lead to an epizootic outbreak which then spread to human beings. People die of the plague because of the toxic nature of Yersinia pestis which compromises one's immune system while, at the same time, multiplying in the body. Since the compromised immune system can no longer fight against the toxins, the person dies.

Plague is always described as beginning with symptoms resembling the flu, which appear, usually, 3-7 days after one has become infected. The symptoms at first are chills, body aches, fever, and overall weakness, which then progresses to vomiting, diarrhea, dehydration, respiratory failure (in some cases), and death. The three types of plague are:

Bubonic: caused by the bite of a carrier flea. This plague attacks the lymph nodes, inflaming them, and the swollen nodes are then called buboes, hence the name.

Septicemic: caused by either an infected flea or contact with an infected animal. It attacks by entering the bloodstream and multiplying.

Pneumonic: caused by contact with an infected animal and spreads person-to-person through coughing. It attacks the lungs, rapidly multiplying, which triggers an immuno-response eventually shutting the lungs down and leaving the person to die of respiratory failure.

Of the following, the first three may or may not have been plague. Descriptions of them by eyewitnesses suggest they may have been typhus or smallpox outbreaks but could have been plague.

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