Podcasts about Aeschylus

Cost of Glory: Read the notes at at podcastnotes.org. Don't forget to subscribe for free to our newsletter, the top 10 ideas of the week, every Monday --------- How to make progress, and know it. Featuring a few of Plutarch's critiques of some Stoics of his day - whether fairly or unfairly, you can decide.Also featuring: Diogenes the Cynic, Aeschylus the Poet, Brasidas the Spartan Commander. Also featuring: ZEAL

Christian writers made Pandora the Classical Eve, disobedient the “cause of all our woe.” But in the 17th-19th centuries, Pandora was transvalued as a redemptive figure, especially by Calderón de la Barca and Goethe (influenced by Calderón) in a fragment called Pandora.

Vengeance is sweet - sometimes. Explore revenge in Harry Potter and the ancient Greek Oresteia by Aeschylus. We welcome back to the show classicist Dr. Mitchell Parks (Knox College), who presented on "Dumbledore, Agamemnon, and the Imperfect Legacy" at the 2024 Harry Potter Academic Conference. He was struck by the epigraph from The Libation Bearers, one of the plays that makes up the Oresteia, at the beginning of Harry Potter and the Deathly Hallows. We discuss the parallels between the play trilogy and the book series, particularly the intertwined themes of justice and revenge. Although there are some similarities between Harry and Orestes, the former spends much more time wrestling with his options and emotions than the latter. The two texts have very different gender politics, which have been reinterpreted in different ways over the years based on current contexts. Although authorial intent is not Mitchell's main interest, the author made a very deliberate choice to include the epigraph, which is formatted similarly to the lightning bolt-shaped dedication. Still, if a reader can notice parallels and convince other readers of their significance, whether or not the author had a deep familiarity with the referenced text doesn't invalidate the meaning.

The drama ends with a proud, defiant Prometheus. The last play of the trilogy, featuring his reconciliation with Zeus, is lost. The new interest in the Prometheus myth during the Romantic era, the age of revolutions.

Fasting, abstaining from sex, risking the literal wrath of god - today's method actors have nothing on the pioneers of ancient Athenian drama. Following on from our episode about Aeschylus's Oresteia, this episode offers an overview of Greek tragedy and the theater - how it evolved from ritual, what actors and chorus members did on stage, and how an awful lot of the surrounding pageantry reminds our host Rose of the NFL.Want to read a transcript or check out Rose's reading list for this episode? Click here. Don't forget to leave us a rating or review (and share us on your socials). Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Aeschylus brings in Io, not part of the original Prometheus story, as a positive female figure replacing Pandora. Turned into a cow and stung by a gadfly, she wanders the world, an innocent sufferer. But from her line will come Herakles or Hercules, who will release Prometheus.

Dcn. Harrison Garlick is joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the end of the Oresteia, the second part of the Eumenides.Check out thegreatbookspodcast.com.Check out our guide to the Oresteia. The first half of the Eumenides demonstrates Aeschylus' ability to dramatize philosophical questions. The old system of justice, bound to the Furies' blood-soaked vengeance, has proven incomplete. The Olympian purity rituals are not a sufficient answer either.Athena's brilliance is found in pushing the concept of justice forward into a more dispassionate, procedural affair while also discovering how to incorporate the ancient powers. As Lackey notes, “Justice here becomes communal—rooted in reason but enriched by tradition.” The second half of the Eumenides promises a trial that will decide not only Orestes' fate but that of justice itself.The second half of Eumenides begins with a dramatic shift in scene. Athena elects to conduct the trial at the Areopagus also known as the “Crag of Ares” or the “Hill of Ares.” It is a mythical place of justice, as it bears its name from when Ares was accused of murder and tried there by the gods. It is a place of divine judgment. It was also said to be an ancient place of council for the Athenians. As such, Aeschylus bridges mythology and Athenian politics to create a new myth on the maturation of justice.Overall, the trial allows Aeschylus to bring the contrasts he's been making throughout the Oresteia into explicit dialogue. The trial begins, and Apollo serves as an advocate for Orestes (582). One wonders whether Agamemnon is helping his son as well (604).Notice the questions from the Furies are reductive and without nuance (591). The Furies again do not recognize the murder of a spouse as meriting their vengeance (611). Apollo appeals to the authority and power of Zeus (626), and one wonders whether justice here is reducible to the will of he who has the most power. The Furies makes the clever argument that even Zeus shackled his own father, Cronos (648), and Apollo retorts that Cronos could be unchained—he was not murdered (655).Next up we are reading Dante's Inferno for Lent!Then we'll return to the Greek plays to read Prometheus Bound by Aeschylus.

An “act” in Greek tragedy consists of dialogue between the hero and another character, followed by an interchange with the Chorus and a Choral Ode. In the second “act,” Prometheus speaks to Oceanus, the ocean, who counsels repentance and humble obedience. Prometheus responds by a remarkable speech in which fire becomes the fire of the creative mind.

Cycles of violence. Legacies handed from famous fathers to uncertain sons. The trajectory of a society moving from retribution to democracy and justice. Robert F. Kennedy probably did not have all these things in mind on April 4, 1968 when he announced the murder of Martin Luther King, Jr. to a crowd in Indianapolis. But he brought them to the surface nevertheless by quoting the ancient Greek dramatist Aeschylus, father of tragedy in his successful attempt to keep the city at peace on that terrible night: "Even in our sleep, pain which cannot forget falls drop by drop upon the heart, until, in our own despair, against our will, comes wisdom through the awful grace of God."It was a scene worthy of Aeschylus himself. This week, walk through the plot of the Oresteia, the only complete triology of Aeschylus's we still have. It tells the story of a family laboring under a curse, and how that curse came to be lifted.To read the transcript of this play or browse our reading list and reference links, please click here. Don't forget to rate, review, and subscribe us! Hosted on Acast. See acast.com/privacy for more information.

Dcn. Harrison Garlick is once again joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss the first part of the Eumenides, the third play in Aeschylus' Oresteia.Check out thegreatbookspodcast.com for more information.Check out our written guide to the Oresteia.The final play of Aeschylus' Oresteia, The Eumenides, sets forth the transformation of justice from the familial mechanics of the blood avenger to a more mature procedural justice set within the polis. It is a story of civilizational maturation. Whereas Agamemnon and the Libation Bearers dealt with the house of Atreus, the Eumenides deals with Athens—a movement from family to polis in consideration of justice.The first half of the Eumenides establishes the groundwork for the plays central conflict: the trial of Orestes with the Furies and Apollo vying against each under with Athena as the judge. The play seeks to find a resolution between two warring worldviews: the more primordial justice of the Furies and the more rational Olympian sensibilities represented by Apollo. What is brought forth by Athena is a new answer to the question: what is justice? To the degree her answer is new, however, is a topic to discuss.Lean more by checking out our guide!

Greek tragedy was not realistic, but stylized, ritualized, with actors wearing masks and a Chorus that sang and danced. The opening scene: Prometheus bound to the rock by Hephaestus. Key thematic words are repeated. This is a play about “limits” of all kinds.

Dcn. Harrison Garlick, Mr. Thomas Lackey, and the Adam Minihan come together to discuss the second part of the Libation Bearers, the second play in Aeschylus' Oresteia. Visit thegreatbookspodcast.com for guides and more information.Support us on Patreon and get access to guides!The second half of the Libation Bearers moves decisively toward the climax of Orestes' role as blood avenger, culminating in the deaths of Clytemnestra and Aegisthus. He will enact the justice that is demanded, and in turn be guilty of murdering his own blood—his mother. As Adam observed, “Orestes is both hero and victim.” This tangled question of justice—whether Orestes can fulfill his father's demand without succumbing to his mother's curse—creates the tension from which Aeschylus will bring forth a narrative not in Homer—the third part of the triad, the Eumenides.I. Orestes' Plan: Vengeance Under the Guise of Guest Friendship (634)Orestes arrives at the house of his father disguised as a stranger (634). Notice, however, that the dynamics of xenia in this scene are subtly off-kilter from the start. First, no one is answering the door (636). Second, the porter asks the stranger for his name (639), an immediate breach of Homeric norms in the Iliad and Odyssey where hospitality was always extended before the host asks who the guest is. The cultural norm of guest-friendship being poorly shown by the house of Clytemnestra and Aegisthus is a subtle sign that the house is disordered and unhealthy. Like Odysseus, Aeschylus has Orestes come home in disguise and lie about his identity (556). Thomas noted the complexity and methodical planning of Clytemnestra's murder of Agamemnon juxtaposed with the simplicity of Orestes' plan of revenge.A key part of this deception is his claim that he, Orestes, has died, a declaration that seems unnecessary for his mission (665). Why does Orestes tell them he's dead? One answer could be another parallel Aeschylus is making with the Odyssey: like Odysseus the beggar testing the loyalty of those in Ithaca prior to his reveal, so too is Orestes using news of his death to test those in the palace at Argos. In other words, he can observe who shows true despair at the news of his death—those are his friends in this mission of vengeance.Check out our written guide for more information!

This week Dcn. Garlick is joined by Mr. Thomas Lackey and the Adam Minihan to discuss part one of the Libation Bearers, the second play in Aeschylus' Oresteia. Check out thegreatbooksdpodcast.com for more resources.Check out our Patreon for a written GUIDE to the whole Oresteia.From our guide:The Libation Bearers presents Orestes as both the hero and the victim. The cycle of violence will both demand his action and condemn it. “The one who acts must suffer,” as Aeschylus observes. The play builds an incredible tension within the current mechanics of justice and primes the audience to desire some lasting resolution—a resolution that will only come in the Eumenides.Aeschylus' Libation Bearers, the second play in the triad of the Oresteia, places Orestes within the moral tension of lex talionis and its cycle of violence. He is the son who, to avenge his father, must kill his mother, Clytemnestra. Aeschylus presents us with fundamental questions on justice—a primitive justice that demands blood for blood, an eye for an eye. The cycle of violence both demands action and condemns it.What makes the Libation Bearers such an essential and resonant part of the Oresteia is its relentless focus on the mechanics of justice and its interplay between violence and fate. Aeschylus "pushes us to think not only about the relationships in play but about larger moral questions.” Through Orestes' struggle to fulfill his divine obligation as blood avenger, and through Electra's own crisis of prayer, the play asks profound questions about the nature of justice. Aeschylus' beautiful line, "The anvil of justice stands fast... fate beats out her sword" (628), is arguably the moral heart of the play. A tale of pain, justice, and fate. I. Orestes Returns Home (1)The story begins several years after the murder of Agamemnon, when Orestes, now a young man of eighteen or so, secretly returns home from exile.[1] Much of the tragedy lies in understanding Orestes' difficult situation: to be a blood avenger for his father, he must kill his own blood, his mother.Orestes' opening monologue invokes Hermes—who fittingly serves as the bridge between the living and the dead (1). The opening invocation to the divine was seen in Agamemnon as well and will be seen again in the Eumenides. The relationship between the living and the dead is a key theme in this play and a perennial question that makes this a great book. It will contain both prayers on behalf of the dead and the intercession of the dead for the living.It is notable that in the absence of having a father, Orestes is presented as a confident, determined figure ready to do the unthinkable. In the Odyssey, he served as the role model for Telemachus, and here we see him lack the timidity and self-doubt that plagued the fatherless Telemachus. It raises the question, however, of who or what shaped Orestes into a character ready to face this grave moral burden? To use a phrase, who was his Mentor? As we will see in the text, as Telemachus had Athena, Orestes had Apollo....Keep up the good work![1] Fagles,...

Sara Burdorff joins Jana Byars to talk about her new book, Maternity, Monstrosity and Heroic (Im)mortality from Homer to Shakespeare (Amsterdam University Press, 2025). This work uses an adaptation of monster theory to rethink the foundations of epic-heroic immortality. Rather than focusing on a specific monster or monsters, the author identifies the "belly-monstrous" as a crucial point of intersection between mothers and warriors in traditional narratives of the Trojan War. Identifying the gestating/digesting belly as the center of the Iliadic world, this groundbreaking approach disrupts androcentric readings of the Iliadic warrior and his ethos, emphasizing the crucial role of female suffering in the generation and preservation of immortal legacy. The author reconsiders ancient Greek depictions of the Trojan War and its aftermath, including Homeric epic and the tragedies of Aeschylus and Euripides, and illuminates the cohesive patterning of Shakespeare's "mother-warrior" plays, which place inherited Iliadic-belly-monstrous motifs in conversation with cultural anxieties of late Elizabethan England. With meticulous scholarship and captivating analysis, Maternity, Monstrosity, and Heroic (Im)mortality from Homer to Shakespeare redefines the relationship between mothers and warriors in the Iliadic-heroic ideal, paving the way for new interpretations of war, grief, and immortal glory in a broad range of literary and cultural contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Sara Burdorff joins Jana Byars to talk about her new book, Maternity, Monstrosity and Heroic (Im)mortality from Homer to Shakespeare (Amsterdam University Press, 2025). This work uses an adaptation of monster theory to rethink the foundations of epic-heroic immortality. Rather than focusing on a specific monster or monsters, the author identifies the "belly-monstrous" as a crucial point of intersection between mothers and warriors in traditional narratives of the Trojan War. Identifying the gestating/digesting belly as the center of the Iliadic world, this groundbreaking approach disrupts androcentric readings of the Iliadic warrior and his ethos, emphasizing the crucial role of female suffering in the generation and preservation of immortal legacy. The author reconsiders ancient Greek depictions of the Trojan War and its aftermath, including Homeric epic and the tragedies of Aeschylus and Euripides, and illuminates the cohesive patterning of Shakespeare's "mother-warrior" plays, which place inherited Iliadic-belly-monstrous motifs in conversation with cultural anxieties of late Elizabethan England. With meticulous scholarship and captivating analysis, Maternity, Monstrosity, and Heroic (Im)mortality from Homer to Shakespeare redefines the relationship between mothers and warriors in the Iliadic-heroic ideal, paving the way for new interpretations of war, grief, and immortal glory in a broad range of literary and cultural contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Sara Burdorff joins Jana Byars to talk about her new book, Maternity, Monstrosity and Heroic (Im)mortality from Homer to Shakespeare (Amsterdam University Press, 2025). This work uses an adaptation of monster theory to rethink the foundations of epic-heroic immortality. Rather than focusing on a specific monster or monsters, the author identifies the "belly-monstrous" as a crucial point of intersection between mothers and warriors in traditional narratives of the Trojan War. Identifying the gestating/digesting belly as the center of the Iliadic world, this groundbreaking approach disrupts androcentric readings of the Iliadic warrior and his ethos, emphasizing the crucial role of female suffering in the generation and preservation of immortal legacy. The author reconsiders ancient Greek depictions of the Trojan War and its aftermath, including Homeric epic and the tragedies of Aeschylus and Euripides, and illuminates the cohesive patterning of Shakespeare's "mother-warrior" plays, which place inherited Iliadic-belly-monstrous motifs in conversation with cultural anxieties of late Elizabethan England. With meticulous scholarship and captivating analysis, Maternity, Monstrosity, and Heroic (Im)mortality from Homer to Shakespeare redefines the relationship between mothers and warriors in the Iliadic-heroic ideal, paving the way for new interpretations of war, grief, and immortal glory in a broad range of literary and cultural contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Sara Burdorff joins Jana Byars to talk about her new book, Maternity, Monstrosity and Heroic (Im)mortality from Homer to Shakespeare (Amsterdam University Press, 2025). This work uses an adaptation of monster theory to rethink the foundations of epic-heroic immortality. Rather than focusing on a specific monster or monsters, the author identifies the "belly-monstrous" as a crucial point of intersection between mothers and warriors in traditional narratives of the Trojan War. Identifying the gestating/digesting belly as the center of the Iliadic world, this groundbreaking approach disrupts androcentric readings of the Iliadic warrior and his ethos, emphasizing the crucial role of female suffering in the generation and preservation of immortal legacy. The author reconsiders ancient Greek depictions of the Trojan War and its aftermath, including Homeric epic and the tragedies of Aeschylus and Euripides, and illuminates the cohesive patterning of Shakespeare's "mother-warrior" plays, which place inherited Iliadic-belly-monstrous motifs in conversation with cultural anxieties of late Elizabethan England. With meticulous scholarship and captivating analysis, Maternity, Monstrosity, and Heroic (Im)mortality from Homer to Shakespeare redefines the relationship between mothers and warriors in the Iliadic-heroic ideal, paving the way for new interpretations of war, grief, and immortal glory in a broad range of literary and cultural contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Sara Burdorff joins Jana Byars to talk about her new book, Maternity, Monstrosity and Heroic (Im)mortality from Homer to Shakespeare (Amsterdam University Press, 2025). This work uses an adaptation of monster theory to rethink the foundations of epic-heroic immortality. Rather than focusing on a specific monster or monsters, the author identifies the "belly-monstrous" as a crucial point of intersection between mothers and warriors in traditional narratives of the Trojan War. Identifying the gestating/digesting belly as the center of the Iliadic world, this groundbreaking approach disrupts androcentric readings of the Iliadic warrior and his ethos, emphasizing the crucial role of female suffering in the generation and preservation of immortal legacy. The author reconsiders ancient Greek depictions of the Trojan War and its aftermath, including Homeric epic and the tragedies of Aeschylus and Euripides, and illuminates the cohesive patterning of Shakespeare's "mother-warrior" plays, which place inherited Iliadic-belly-monstrous motifs in conversation with cultural anxieties of late Elizabethan England. With meticulous scholarship and captivating analysis, Maternity, Monstrosity, and Heroic (Im)mortality from Homer to Shakespeare redefines the relationship between mothers and warriors in the Iliadic-heroic ideal, paving the way for new interpretations of war, grief, and immortal glory in a broad range of literary and cultural contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

Sara Burdorff joins Jana Byars to talk about her new book, Maternity, Monstrosity and Heroic (Im)mortality from Homer to Shakespeare (Amsterdam University Press, 2025). This work uses an adaptation of monster theory to rethink the foundations of epic-heroic immortality. Rather than focusing on a specific monster or monsters, the author identifies the "belly-monstrous" as a crucial point of intersection between mothers and warriors in traditional narratives of the Trojan War. Identifying the gestating/digesting belly as the center of the Iliadic world, this groundbreaking approach disrupts androcentric readings of the Iliadic warrior and his ethos, emphasizing the crucial role of female suffering in the generation and preservation of immortal legacy. The author reconsiders ancient Greek depictions of the Trojan War and its aftermath, including Homeric epic and the tragedies of Aeschylus and Euripides, and illuminates the cohesive patterning of Shakespeare's "mother-warrior" plays, which place inherited Iliadic-belly-monstrous motifs in conversation with cultural anxieties of late Elizabethan England. With meticulous scholarship and captivating analysis, Maternity, Monstrosity, and Heroic (Im)mortality from Homer to Shakespeare redefines the relationship between mothers and warriors in the Iliadic-heroic ideal, paving the way for new interpretations of war, grief, and immortal glory in a broad range of literary and cultural contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

We are reading Aeschylus' Oresteia. This week Dcn. Garlick, Adam Minihan, Thomas Lackey, and Dr. Frank Grabowski discuss part two of Aeschylus' Agamemnon, the second part of the first play of the Oresteia. Check out thegreatbookspodcast.com for more sources.Check out our written guide to the Oresteia.I. Clytemnestra and Agamemnon: Murder, Manipulation & Denial (795)Clytemnestra dominates Agamemnon as a complex figure of cleverness, rage, and manipulation. Upon Agamemnon's return, she denies him a true homecoming by rolling out the red tapestries and inviting him to walk on them (901). Two main observations on the red tapestries. First, Clytemnestra is literally denying Agamemnon the satisfaction of setting his foot on Argos's soil. It is a denial of him truly coming home. Compare this denial to the herald who praises the soil of Argos upon his return (493).Second, walking on the tapestries is an act of hubris and impiety. Even Agamemnon states it is an act reserved for the gods (915). It said that the dye needed to make these tapestries would have been incredibly laborious and expensive—and upon walking upon them, they would be ruined. Note also their comparison to streams of blood (903). Clytemnestra is inviting Agamemnon to a prideful, impious, and prodigal act. The invitation should be compared to Agamemnon's opening lines that praise and give gratitude to the gods (795).Clytemnestra hatred is profound. Her actions reflect years of planning, deep-seated hatred, and extraordinary control over the narrative surrounding the king's return. She is leading Agamemnon into impiety so that he will die at odds with the divine. It is akin, in Catholic parlance, to leading someone into mortal sin prior to murdering them. It is a supernatural cruelty similar to Achilles intentionally throwing bodies in the river to deny them their burial rites in the Iliad.Agamemnon's behavior in this moment reflects his characteristic weakness. He is effeminate, weak-willed, and impressionable. Clytemnestra is clever and dominative (935). He even states that Clytemnestra is treating him “like a woman” (912). His inability to assert himself as either husband or king leaves him vulnerable to Clytemnestra's intellectual superiority. She remarks: “The power is yours, if you surrender your free will to me,” underscoring how she undermines his authority on every level (939). One should recall the wife of Odysseus, Penelope, the “matchless queen of cunning,” who through her wit and fidelity preserved King Odysseus' kingdom and herself until his return. One may see Clytemnestra as an evil Penelope—a queen whose wit is turned against her king to his destruction. II. The Chorus and the Tragedy of Cassandra (977) The old men of Argos, the chorus, “huddle in terror” as Agamemnon and Clytemnestra enter the palace. They are afraid and inept. Notice the imagery of a man's blood wetting the earth and whether it can then sing (1017). It is difficult not to think of the story of Cain and Abel, and how Abel's blood cried out to God (Genesis 4:10). Clytemnestra reemerges from the palace and attempts to coax Cassandra, the Trojan princess, into the palace. Cassandra is silent, which is expected, as it was tradition only two persons would speak on the stage at a time—and here Clytemnestra and the leader of the chorus are both speaking....

***CHARLESTON, SOUTH CAROLINA! Corey is gonna be at Wit's End Comedy Lounge on Feburary 23rd! Get those tix at witsendcharleston.com and get em quick before they are gone! Trae will also be in Charleston a few day's before, so hopefully you can make it a full POA weekend! TraeCrowder.com to grab tickets for that show and everywhere Trae is gonna be!*** In todays chin-wag, Lord Trae and Professor CHO discuss the cultural significance of rugby players and British slang along with the duality of British culture, the unique tradition of the Gurning Championship, and the legacy of ancient playwright Aeschylus. Also mentioned is Ian Nasir, an ancient Sumerian merchant known for selling poor-quality copper, and the modern implications of his legacy through memes and online culture. Oh, and Professor CHO calls BS on some of the things we are meant to believe about Alexander Hamilton as he begins his quest to possibly redeem one of America's most notorious bad boys: Aaron Burr! Snag some POA MERCH at StayFancyMerch.com joinbilt.com/POA, to start earning points on your rent payments today! Learn more about your ad choices. Visit megaphone.fm/adchoices

***CHARLESTON, SOUTH CAROLINA! Corey is gonna be at Wit's End Comedy Lounge on Feburary 23rd! Get those tix at witsendcharleston.com and get em quick before they are gone! Trae will also be in Charleston a few day's before, so hopefully you can make it a full POA weekend! TraeCrowder.com to grab tickets for that show and everywhere Trae is gonna be!*** In todays chin-wag, Lord Trae and Professor CHO discuss the cultural significance of rugby players and British slang along with the duality of British culture, the unique tradition of the Gurning Championship, and the legacy of ancient playwright Aeschylus. Also mentioned is Ian Nasir, an ancient Sumerian merchant known for selling poor-quality copper, and the modern implications of his legacy through memes and online culture. Oh, and Professor CHO calls BS on some of the things we are meant to believe about Alexander Hamilton as he begins his quest to possibly redeem one of America's most notorious bad boys: Aaron Burr! Snag some POA MERCH at StayFancyMerch.com joinbilt.com/POA, to start earning points on your rent payments today! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dcn. Garlick, Dr. Frank Grabowski, and Thomas Lackey are reunited to discuss the first part of Agamemnon, the first play in Aeschylus' Oresteia. Check out thegreatbookspodcast.com for more information.From our written guide available to our supporters:The first play of the Oresteia tells of the homecoming of Agamemnon and is predominately animated by revenge. Aeschylus presents us with questions concerning the legitimacy of the Trojan war, how Argos has suffered without its king, and why Clytemnestra has plotted to murder her husband. Though chronologically Odysseus has not return home yet, one should compare this text to the Odyssey and Odysseus' own homecoming – written almost three hundred years prior by Homer. Aeschylus draws heavily from Homer but changes small but significant details, which creates a narrative that presents a profound lesson on the weaknesses of lex talionis as enacted by the blood avenger model. Throughout Agamemnon and into Libation Bearers, we are invited to consider whether a new model of justice is needed.I. The Opening: Unease and Gender Inversions (1)The play begins with an invocation to the gods, as will the following two plays. Through the watchman, Aeschylus communicates the time and setting to his audience in a manner typical of Greek drama. The watchman's opening monologue conveys a disquieting mood of fear and quiet dread. As observed, Lackey describes the opening as “a little eerie and a little bit off.” Notably, the watchman yearns for the return of Agamemnon, his king, and we note the king's absence has left the kingdom, Argos, in suffering (24, 37). One thinks here of the suffering of Ithaca without Odysseus in the Odyssey. The opening passages invites us to ask: “What has life been like in Argos over the past decade during the king's absence?” and “What is the effect of the empty throne of Argos upon its people?” From the outset, Aeschylus will play with gender roles and descriptions. Notice Clytemnestra, Agamemnon's wife, “maneuvers like a man” (13), while Agamemnon himself will be presented as effeminate. This thematic inversion invites readers to examine Aeschylus' pedagogical purpose for such language. As Dr. Grabowski observes, the toying with gender traits parallels Shakespeare's Macbeth, wherein Lady Macbeth similarly exhibits masculine qualities of ambition and dominance. As the play progresses, readers gain insight into life in Argos during Agamemnon's ten-year absence. The people long for an end to their suffering, for “an end to their pain” (23). Notably, Aeschylus allows us to see how Argos viewed the Trojan war (44), which is largely presented, at first, as a just war in which Agamemnon was the “great avenger” of Zeus punishing Troy for its violation of guest-friendship (45), i.e., Prince Paris absconding with Menelaus' wife, Helen. The reader should note whether Agamemnon's return starts to adjust this narrative....Check out our whole guide on the Oresteia.

Dcn. Harrison Garlick and Adam Minihan are reunited to intro Aeschylus, the Father of Greek Tragedy.Aeschylus (b. 525 BC) was a warrior, statesman, and the father of Greek tragedy. Born into nobility, he grew up in Athens during its pivotal transition from tyranny to democracy. Furthermore, he famously fought in the Battle of Marathon (490 BC), defending a nascent Western civilization against Persian invasion. Aeschylus died in 456 BC, leaving behind a legacy that shaped the foundation of Greek drama.Check out thegreatbookspodcast.com for more information.From our guide on the Oresteia:1. What is the Ionian Revolt?To understand Aeschylus, we must first understand the Greco-Persian War (c. 499 BC to 429). In sum, what is called the “First Persian Empire,” founded by Cyrus the Great around 550 BC, stretched from modern-day Iran, Asia Minor, modern day Israel, and Egypt. In Asia Minor, this Persian empire ruled over Hellenistic city-states. One may recall that Troy, a polis with both Hellenistic and eastern traits, was also located in Asia Minor. In 499 BC, the city-states rebelled against their Persian overlords with the support of Athens in what is known as the “Ionian Revolt.” The revolt failed and the Persians retained control of Asia Minor; however, King Darius of the Persian Empire believed Athens should be punished and elected to invade Greece. 2. What was the first invasion in the Greco-Persian Wars?The Ionian Revolt sparked the larger Greco-Persian Wars and led to King Darius' invasion of ancient Greece in 492 BC. Athens led the federation of city-states against the Persians, and Aeschylus fought for the Athenian army. Notably, Aeschylus and his brother both fought at the famous Battle of Marathon in 490 BC at which the first Persian invasion was defeated.[1] Aeschylus' brother, however, died in the conflict.[2] The Battle of Marathon is often held as a watershed moment in the birth of Western culture. The battle is also the namesake of running a marathon, as the legend has it that an Athenian runner ran the twenty-six miles from Marathon to Athens to tell them of the Athenian victory. 3. What was the second Persian invasion in the Greco-Persian Wars?Ten years later, a second Persian invasion was headed by King Darius' son, King Xerxes. This is the setting for the famous Battle of Thermopylae (480 BC), in which the smaller Spartan force of approximately 7000 men under King Leonidas held off 120,000-300,000 Persian invaders. The word Thermopylae means “hot gates” and takes its name from the hot springs in that area—it is also fittingly one of the mythological entrances to Hades. After Thermopylae, the Athenians won a great naval battle against the Persians at Salamis in 480 BC. Notably, Aeschylus is said to have fought in this battle as well and wrote his play The Persians about the conflict. The Greeks, led by the Athenians and Spartans, would eventually expel the Persians and bring peace in 449 BC. 4. What do we know about Aeschylus' writings?Aeschylus is...

“I take my cue from deeds, not words.”― Aeschylus, Prometheus BoundContact us at:Twitter - @SineWavePodBlueSky - @SineWavePodInstagram - @SineWavePodEmail - sinewavepod@gmail.comArtwork produced by - Molly, @bbymoll on instaMusic produced by - Adam Pizza, https://adm.pizza/ Hosted on Acast. See acast.com/privacy for more information.

The great conflict that we know today as the Greco-Persian Wars between a few independent city-states of ancient Greece and mighty Achaemenid Persian Empire is, in my opinion, one of the most fascinating and consequential in all of history.  More than just battles for territory and glory - they were clashes of culture, ideology, and power between East and West. The war saw legendary figures such as Leonides, The Great King Xerxes, Themistocles, Darius the Great, Miltiades, Mardonius, Artemisia, Kleomenes, and countless others in action.  Since most accounts of the conflict available to us come from Greek and Roman historians and writers of antiquity such as Herodotus, Plutarch, Diodorus Siculus, Aeschylus, the traveler Pausanias, Justin and others, our modern perspective is often shaped by their portrayal of a struggle between the freedom-loving Greeks and the tyrannical rulers of Achaemenid Persia—a narrative further popularized by films like 300.  However, as we will explore, the reality was far more complex.  Drawing on historical sources and the latest archaeological research, this series will explore everything from the causes of the conflict to its key figures, the various phases of the war, and its aftermath. This is the first of a series of 5 or 6 podcasts that will be released over the next few months.  Stay tuned for future episodes.  Contents:00:00  Rise of Cyrus the Great and the Persian Achaemenid Empire05:27 Ionians and Greeks in the Persian Empire14:29 A bit about Herodotus16:49 Trouble in Athens23:52 Earth and Water 28:04 Sparta (almost) Attacks!36:25 Aristagoras' Plan44:21 The Ionian Revolt49:10 The Battle of Lade50:09 Aftermath57:10 Thank You and PatronsSpecial thanks to Farya Faraji for the following musical compositions featured throughout the program: "Spantodhata's Warning""To Phrygia""In Pythagoras' Mind""The Apadana's Shadows""Immortals""Mater""In Sappho's Mind""Spring in Persepolis""Aíma""Apranik's Charge""March of Achaemenes""Hyrcanian Lullaby"Check out more of his work that spans across many countries, cultures and time periods: https://www.youtube.com/@faryafarajiYou can also find them on the albums:*Songs of Old Iran Vols. I & II**Voices of the Ancients Vols. I & II* Additional Music:Epidemic Sound"Genie's Bane""Interstate 895""One with the Tribe""Pepper Seeds""Keeping up with the Tarahumaras""Blood in Water""The Golden Spiral""The Sewers""Deer Hunt""Zero Remorse"Support the show

Dcn. Harrison Garlick is joined by Dr. Jennifer Frey of the University of Tulsa Honors College to discuss Book 20 of the Odyssey: The Portents Gather.Check out thegreatbookspodcast.com for guides and more!From the written guide:97. What happens in book twenty?After his conversation with Penelope, Odysseus the beggar lays in bed alert to the fact the maidservants are leaving the house to go sleep with the suitors (20.08). Athena causes him to fall asleep (20.59), and in the morning Odysseus prays to Zeus for an omen of support (20.109). His prayer is answered and his “heart leapt up… convinced he'd grind the scoundrels' lives out in revenge” (20.134). The palace is alive in preparation for a feast in honor of Apollo (20.173).We are introduced to a new character, the cowherd, who is immediately reminded of king Odysseus when he sees Odysseus the beggar the first time (20.224). Athena stirs up the suitors (20.316), and one of the suitors throws on “oxhoof” at Odysseus (20.320). Telemachus chastises the suitor (20.339), and the suitors ask Telemachus to have Penelope choose a new husband (20.370). Athena whips the suitors up into a frenzy (20.385), and the prophet, Theoclymenus, leaves the palace—as he is so troubled by his visions of the house drenched in blood (20.390). The book ends with the suitors mocking Telemachus, Telemachus bearing it stoically while looking at his father, and Penelope listening to every word said in the hall (20.439).98. What should be made of Odysseus' request of Athena?Odysseus' request of Athena gives structure to the rest of the text (20.41). First, recall that it is Zeus that oversees guest-friendship; thus, Odysseus understands he needs divine permission to kill the guests in his home. Second, note the concern that if he does kill the suitors, their avengers will come to kill him (20.45). Here, we need to understand the judicial custom of blood avengers. In short, if a person in the family was murdered, a member of the victim's family bore a responsibility to then avenger the death of their relative. This is the underpinning to the story of Orestes killing Aegisthus for the murder of his father, Agamemnon. Later in Aeschylus' Oresteia, the tragedian will take up this story and explore the shortcomings with this understanding of justice. One such fault with the blood avenger model of justice is that is perpetuates circles of violence. For example, Odysseus will kill the suitors, but the family of the suitors will then seek to murder him; in turn, if they do murder Odysseus, Telemachus would then be bound to avenge father. As such, the concern is how does the cycle of violence stop? The answer to that question will be given one way at the end of the Odyssey and in another at the end of the Oresteia.Returning to the text, note that Athena does not answer him (20.47). Odysseus needs to have faith, as he's not given a detailed explanation of the divine plan. It is notable the passage ends with Homer using “loosed his limbs” as an idiom for sleep—as its normally an idiom for death (20.61). One wonders then if we are not on the verge of a rebirth for Odysseus. Finally, despite Athena's response, note that Odysseus still asks Zeus for a sign—and Zeus gives it to him (20.109).More questions and answers in our guide!

Thu, 07 Nov 2024 00:00:00 +0000 https://seesee.podigee.io/s3e3-richard-martin-part-2 40bed36a7fcc725d8c0c7b947c051918 What is a myth? What do we get out of them? Do myths die? Do gods die? In this episode dedicated to Greek mythology, Richard P. Martin, Antony and Isabelle Raubitschek Professor of Classics at Stanford, will guide us through the story of Prometheus, the legendary rebel who defied the gods by stealing fire from Mount Olympus to give to mankind. Through his storytelling we will learn about Prometheus' own mythic torment and explore the symbolism of his eternal punishment and sacrifice and its relationship to the mysteries of divination and Zeus' scorn at Prometheus' ability to tell the future. Get ready to let your imagination run wild as we picture ourselves in the incredible theatre of Dionysus in Athens! And listen to Prof. Martin on how in Athens the people refused to bow to a tyrant. You'll also get to learn what Aeschylus' Prometheus Bound has to do with tyranny and democracy! We'll delve into the fascinating implications of the new Pandora, as represented by AI, for humanity. And will be discussing the muses, creativity and the role of the human heart! Professor Richard Martin's major publications include Healing, Sacrifice and Battle. Amechania and Related Concepts in Early Greek Poetry; The Language of Heroes: Speech and Performance in the Iliad (Myth and Poetics); and Mythologizing Performance, published in 2020. In addition to several articles on Greek, Latin and Irish literature, he's the author of publications for general audiences, such as Classical Mythology, the Basics; Bulfinch's Mythology: The Age of the Fable, The Age of Chivalry, Legends of Charlemagne (The most complete compendium of mythology ever published); and Myths of the Ancient Greeks, published in 2023. An authority on Greek poetry and myth, Prof. Richard Martin has produced an internet version of Homer's Odyssey with a team at Stanford. https://classics.stanford.edu/people/richard-p-martin https://shc.stanford.edu/stanford-humanities-center/about/people/richard-martin https://www.penguinrandomhouse.com/books/287398/myths-of-the-ancient-greeks-by-richard-p-martin/ 3 3 full no Dr. Cecilia Ponce Rivera

Fill out an application for the Cost of Glory Men's Retreat - "SELL IT LIKE CAESAR".  January 23-26th.  Apply here.  More details to follow soon.  (URL here: https://forms.costofglory.com/2025-retreat ).How to make progress, and know it.  Featuring a few of Plutarch's critiques of some Stoics of his day - whether fairly or unfairly, you can decide.Also featuring: Diogenes the Cynic, Aeschylus the Poet, Brasidas the Spartan Commander. Also featuring: ZEAL

Join the #McConnellCenter as we host Dr. N Susan Laehn. and she attempts to convince you to read the works of the Father of Tragedy - Aeschylus. Dr. Laehn currently serves as a part-time faculty member at the University of Louisville, Adjunct Professor of Political Science at Iowa State University, and is a Non-Resident Fellow at the McConnell Center at UofL. She is co-editor of Welcoming the Other: Student, Stranger, and Divine (Lexington Books, 2021), and she has published in Social Science Quarterly and Political Research Quarterly. Her teaching and research interests include ancient and modern political theory, ethics and politics, applied political theory, American government, and research methods. . We all know we need to read more and there are literally millions of books on shelves with new ones printed every day. How do we sort through all the possibilities to find the book that is just right for us now? Well, the McConnell Center is bringing authors and experts to inspire us to read impactful and entertaining books that might be on our shelves or in our e-readers, but which we haven't yet picked up. We hope you learn a lot in the following podcast and we hope you might be inspired to pick up one or more of the books we are highlighting this year at the University of Louisville's McConnell Center. Stay Connected Visit us at McConnellcenter.org Subscribe to our newsletter  Facebook: @mcconnellcenter Instagram: @ulmcenter  Twitter: @ULmCenter This podcast is a production of the McConnell Center

Fri, 01 Nov 2024 00:00:00 +0000 https://seesee.podigee.io/s3e2-richard-martin-part-1 a4a12eea777b1932e7d4626b3e4a043a What is a myth? What do we get out of them? Do myths die? Do gods die? In this episode dedicated to Greek mythology, Richard P. Martin, Antony and Isabelle Raubitschek Professor of Classics at Stanford, will guide us through the story of Prometheus, the legendary rebel who defied the gods by stealing fire from Mount Olympus to give to mankind. Through his storytelling we will learn about Prometheus' own mythic torment and explore the symbolism of his eternal punishment and sacrifice and its relationship to the mysteries of divination and Zeus' scorn at Prometheus' ability to tell the future. Get ready to let your imagination run wild as we picture ourselves in the incredible theatre of Dionysus in Athens! And listen to Prof. Martin on how in Athens the people refused to bow to a tyrant. You'll also get to learn what Aeschylus' Prometheus Bound has to do with tyranny and democracy! We'll delve into the fascinating implications of the new Pandora, as represented by AI, for humanity. And will be discussing the muses, creativity and the role of the human heart! Professor Richard Martin's major publications include Healing, Sacrifice and Battle. Amechania and Related Concepts in Early Greek Poetry; The Language of Heroes: Speech and Performance in the Iliad (Myth and Poetics); and Mythologizing Performance, published in 2020. In addition to several articles on Greek, Latin and Irish literature, he's the author of publications for general audiences, such as Classical Mythology, the Basics; Bulfinch's Mythology: The Age of the Fable, The Age of Chivalry, Legends of Charlemagne (The most complete compendium of mythology ever published); and Myths of the Ancient Greeks, published in 2023. An authority on Greek poetry and myth, Prof. Richard Martin has produced an internet version of Homer's Odyssey with a team at Stanford. https://classics.stanford.edu/people/richard-p-martin https://shc.stanford.edu/stanford-humanities-center/about/people/richard-martin https://www.penguinrandomhouse.com/books/287398/myths-of-the-ancient-greeks-by-richard-p-martin/ 3 2 full no Princeton,Greek poetry,Prometheus Myth,Prometheus Bound,Mythology,Stanford Academia,Prometheus,Fire,Storytelling,Zeus Dr. Cecilia Ponce Rivera

Welcome to the Paint The Medical Picture Podcast, created and hosted by Sonal Patel, CPMA, CPC, CMC, ICD-10-CM. Thanks to all of you for making this a Top 15 Podcast for 4 Years: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://blog.feedspot.com/medical_billing_and_coding_podcasts/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sonal's 13th Season starts up and Episode 9 features a Newsworthy updates on the month's fraud, waste, and abuse cases. Sonal's Trusty Tip features my final spotlight on Breast Cancer Awareness Month. I focus on my compliance recommendations on breast cancer diagnosis coding. Spark inspires us all to reflect on insight and wisdom based on the inspirational words of Aeschylus. Thanks to HCPro®: Website:⁠ ⁠⁠https://hcpro.com/⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Paint The Medical Picture Podcast now on: Spotify: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://open.spotify.com/show/6hcJAHHrqNLo9UmKtqRP3X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/paint-the-medical-picture-podcast/id153044217⁠7⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Amazon Music: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://music.amazon.com/podcasts/bc6146d7-3d30-4b73-ae7f-d77d6046fe6a/paint-the-medical-picture-podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Find Paint The Medical Picture Podcast on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCzNUxmYdIU_U8I5hP91Kk7A⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Find Sonal on LinkedIn:⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.linkedin.com/in/sonapate/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ And checkout the website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://paintthemedicalpicturepodcast.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you'd like to be a sponsor of the Paint The Medical Picture Podcast series, please contact Sonal directly for pricing: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PaintTheMedicalPicturePodcast@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/sonal-patel5/support

A terrible crime weighs on Orestes and he is pursued across the world by ghosts both literal and metaphorical - how can he lay these ghosts to rest? Inspired by Aeschylus, Eumenides, and Eurpides, Iphigenia in Tauris, this modernised re-telling of a classic Greek myth is followed by a discussion of a Taurian goddess, the Oracle at Delphi, and the Furies of Greek mythology.

The final narrative episode of the Euripides series has been postponed... For now, welcome to Spooky Season. This episode originally aired in 2021. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Theoi.com: Aeschylus' Agamemnon, translated by Herbert Weir Smyth and found on Theoi; Early Greek Myths by Timothy Gantz. Episode title is an edited quote from Scream 2. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

Chapter 1 - The Dark Lord AscendingThe dedication of this book Is split seven ways: To Neil, To Jessica, To David, To Kenzie, To Di, To Anne, And to you, If you have stuck with Harry until the very end. Oh, the torment bred in the race, the grinding scream of death and the stroke that hits the vein, the haemorrhage none can staunch, the grief, the curse no man can bear. But there is a cure in the house and not outside it, no, not from others but from them, their bloody strife. We sing to you, dark gods beneath the earth. Now hear, you blissful powers underground — answer the call, send help. Bless the children, give them triumph now. Aeschylus, The Libation BearersDeath is but crossing the world, as friends do the seas; they live in one another still. For they must needs be present, that love and live in that which is omnipresent. In this divine glass they see face to face; and their converse is free, as well as pure. This is the comfort of friends, that though they may be said to die, yet their friendship and society are, in the best sense, ever present, because immortal. William Penn, More Fruits of Solitude Q1 - What do you think of the forward and dedication?The drawing room was full of silent people, sitting at a long and ornate table. The room's usual furniture had been pushed carelessly up against the walls. Illumination came from a roaring fire beneath a handsome marble mantelpiece surmounted by a gilded mirror. Snape and Yaxley lingered for a moment on the threshold. As their eyes grew accustomed to the lack of light, they were drawn upward to the strangest feature of the scene: an apparently unconscious human figure hanging upside down over the table, revolving slowly as if suspended by an invisible rope, and reflected in the mirror and in the bare, polished surface of the table below. None of the people seated underneath this singular sight was looking at it except for a pale young man sitting almost directly below it. He seemed unable to prevent himself from glancing upward every minute or so.Q2 - What do you think of this scene?“Severus, here,” said Voldemort, indicating the seat on his immediate right. “Yaxley — beside Dolohov.” The two men took their allotted places. Most of the eyes around the table followed Snape, and it was to him that Voldemort spoke first. “So?” “My Lord, the Order of the Phoenix intends to move Harry Potter from his current place of safety on Saturday next, at nightfall.” The interest around the table sharpened palpably: Some stiffened, others fidgeted, all gazing at Snape and Voldemort. “Saturday . . . at nightfall,” repeated Voldemort. His red eyes fastened upon Snape's black ones with such intensity that some of the watchers looked away, apparently fearful that they themselves would be scorched by the ferocity of the gaze. Snape, however, looked calmly back into Voldemort's face and, after a moment or two, Voldemort's lipless mouth curved into something like a smile. “Good. Very good. And this information comes —” “— from the source we discussed,” said Snape. Q3 - What is going on here and who is their source?Again, Voldemort looked up at the slowly revolving body as he went on, “I shall attend to the boy in person. There have been too many mistakes where Harry Potter is concerned. Some of them have been my own. That Potter lives is due more to my errors than to his triumphs.” “I have been careless, and so have been thwarted by luck and chance, those wreckers of all but the best-laid plans. But I know better now. I understand those things that I did not understand before. I must be the one to kill Harry Potter, and I shall be.” Q4 - Is Voldemort right here?At these words, seemingly in response to them, a sudden wail sounded, a terrible, drawn-out cry of misery and pain. Many of those at the table looked downward, startled, for the sound had seemed to issue from below their feet. “Wormtail,” said Voldemort, with no change in his quiet, thoughtful tone, and without removing his eyes from the revolving body above, “have I not spoken to you about keeping our prisoner quiet?”Q5 - Who is their prisoner?“As I was saying,” continued Voldemort, looking again at the tense faces of his followers, “I understand better now. I shall need, for instance, to borrow a wand from one of you before I go to kill Potter.” The faces around him displayed nothing but shock; he might have announced that he wanted to borrow one of their arms. Q6 - Why does he need to borrow one of their wands?“No higher pleasure,” repeated Voldemort, his head tilted a little to one side as he considered Bellatrix. “That means a great deal, Bellatrix, from you.” Her face flooded with color; her eyes welled with tears of delight. “My Lord knows I speak nothing but the truth!” “No higher pleasure . . . even compared with the happy event that, I hear, has taken place in your family this week?” She stared at him, her lips parted, evidently confused. “I don't know what you mean, my Lord.” “I'm talking about your niece, Bellatrix. And yours, Lucius and Narcissa. She has just married the werewolf, Remus Lupin. You must be so proud.” Q7 - To Jenn's point, why do they follow Voldemort?“You must prune yours, must you not, to keep it healthy? Cut away those parts that threaten the health of the rest.” “Yes, my Lord,” whispered Bellatrix, and her eyes swam with tears of gratitude again. “At the first chance!” “You shall have it,” said Voldemort. “And in your family, so in the world . . . we shall cut away the canker that infects us until only those of the true blood remain. . . .”Q8 - Is he talking about killing Lupin and Tonks?“For those of you who do not know, we are joined here tonight by Charity Burbage who, until recently, taught at Hogwarts School of Witchcraft and Wizardry.”Q9 - Did Snape give up his coworker here?Nobody laughed this time: There was no mistaking the anger and contempt in Voldemort's voice. For the third time, Charity Burbage revolved to face Snape. Tears were pouring from her eyes into her hair. Snape looked back at her, quite impassive, as she turned slowly away from him again. “Avada Kedavra.”Q10 - How evil is this scene?Chapter 2 - In MemoriamHarry had spent the morning completely emptying his school trunk for the first time since he had packed it six years ago.Q1 - How gross is Harry?He recognized it at once. It was a two-inch-long fragment of the enchanted mirror that his dead godfather, Sirius, had given him. Harry laid it aside and felt cautiously around the trunk for the rest, but nothing more remained of his godfather's last gift except powdered glass, which clung to the deepest layer of debris like glittering grit. Q2 - Will this come back in the end of the story?For his part, Albus had arrived at Hogwarts under the burden of unwanted notoriety. Scarcely a year previously, his father, Percival, had been convicted of a savage and well-publicized attack upon three young Muggles. Albus never attempted to deny that his father (who was to die in Azkaban) had committed this crime; on the contrary, when I plucked up courage to ask him, he assured me that he knew his father to be guilty. Beyond that, Dumbledore refused to speak of the sad business, though many attempted to make him do so. Q3 - Is this true? Why didn't Harry know anything about this?In a matter of months, however, Albus's own fame had begun to eclipse that of his father. By the end of his first year he would never again be known as the son of a Muggle-hater, but as nothing more or less than the most brilliant student ever seen at the school. Q4 - Is this a realistic depiction of Albus? Can a first year be the best student in the school?When Albus and I left Hogwarts we intended to take the then-traditional tour of the world together, visiting and observing foreign wizards, before pursuing our separate careers. However, tragedy intervened. On the very eve of our trip, Albus's mother, Kendra, died, leaving Albus the head, and sole breadwinner, of the family. I postponed my departure long enough to pay my respects at Kendra's funeral, then left for what was now to be a solitary journey. With a younger brother and sister to care for, and little gold left to them, there could no longer be any question of Albus accompanying me. Q5 - Did you know Dumbledore had a sister?Though Ariana had been in poor health for a long time, the blow, coming so soon after the loss of their mother, had a profound effect on both of her brothers. All those closest to Albus — and I count myself one of that lucky number — agree that Ariana's death, and Albus's feeling of personal responsibility for it (though, of course, he was guiltless), left their mark upon him forevermore. Q6 - Why would Dumbledore feel personally responsible?He died as he lived: working always for the greater good and, to his last hour, as willing to stretch out a hand to a small boy with dragon pox as he was on the day that I met him. Q7 - What do you think of the line “for the greater good.”He had never thought to ask Dumbledore about his past. No doubt it would have felt strange, impertinent even, but after all, it had been common knowledge that Dumbledore had taken part in that legendary duel with Grindelwald, and Harry had not thought to ask Dumbledore what that had been like, nor about any of his other famous achievements. No, they had always discussed Harry, Harry's past, Harry's future, Harry's plans . . . and it seemed to Harry now, despite the fact that his future was so dangerous and so uncertain, that he had missed irreplaceable opportunities when he had failed to ask Dumbledore more about himself, even though the only personal question he had ever asked his headmaster was also the only one he suspected that Dumbledore had not answered honestly: “What do you see when you look in the mirror?” “I? I see myself holding a pair of thick, woolen socks.”Q8 - What do you think he saw in the mirror?In person, Rita Skeeter is much warmer and softer than her famously ferocious quill-portraits might suggest. Greeting me in the hallway of her cozy home, she leads me straight into the kitchen for a cup of tea, a slice of pound cake and, it goes without saying, a steaming vat of freshest gossip. Q9 - Will any of this biography be true?Skeeter was certainly quick off the mark. Her nine-hundred-page book was completed a mere four weeks after Dumbledore's mysterious death in June. But old Dodgy Doge can get off his high hippogriff, because I've had access to a source most journalists would swap their wands for, one who has never spoken in public before and who was close to Dumbledore during the most turbulent and disturbing phase of his youth.”Q10 - Who is this source?No, it's the mother and the sister that intrigued me, and a little digging uncovered a positive nest of nastiness — but, as I say, you'll have to wait for chapters nine to twelve for full details. All I can say now is, it's no wonder Dumbledore never talked about how his nose got broken.” Q11 - Will any of this be true? What is she talking about here?It's been called unhealthy, even sinister. . . . Q12 - How would you describe their relationship with each other?Harry sat down hard on the bed. The broken bit of mirror danced away from him; he picked it up and turned it over in his fingers, thinking, thinking of Dumbledore and the lies with which Rita Skeeter was defaming him. . . . A flash of brightest blue. Harry froze, his cut finger slipping on the jagged edge of the mirror again. He had imagined it, he must have done. He glanced over his shoulder, but the wall was a sickly peach color of Aunt Petunia's choosing: There was nothing blue there for the mirror to reflect. He peered into the mirror fragment again, and saw nothing but his own bright green eye looking back at him. He had imagined it, there was no other explanation; imagined it, because he had been thinking of his dead headmaster. If anything was certain, it was that the bright blue eyes of Albus Dumbledore would never pierce him again. Q13 - What just happened?Chapter 3 - The Dursleys DepartingHarry pressed on remorselessly. “Once I'm seventeen, the protective charm that keeps me safe will break, and that exposes you as well as me. The Order is sure Voldemort will target you, whether to torture you to try and find out where I am, or because he thinks by holding you hostage I'd come and try to rescue you.”Q1 - What do you think of this?Q2 - Do you think the Dursleys are ridiculous? Do you have any sympathy for them?The prospect of parting — probably forever — from his aunt, uncle, and cousin was one that he was able to contemplate quite cheerfully, but there was nevertheless a certain awkwardness in the air. What did you say to one another at the end of sixteen years' solid dislike? “Well, this is good-bye, then, boy.” He swung his right arm upward to shake Harry's hand, but at the last moment seemed unable to face it, and merely closed his fist and began swinging it backward and forward like a metronome. “Ready, Diddy?” asked Aunt Petunia, fussily checking the clasp of her handbag so as to avoid looking at Harry altogether. Dudley did not answer, but stood there with his mouth slightly ajar, reminding Harry a little of the giant, Grawp. “Come along, then,” said Uncle Vernon. He had already reached the living room door when Dudley mumbled, “I don't understand.” “What don't you understand, popkin?” asked Aunt Petunia, looking up at her son. Dudley raised a large, hamlike hand to point at Harry. “Why isn't he coming with us?” Uncle Vernon and Aunt Petunia froze where they stood, staring at Dudley as though he had just expressed a desire to become a ballerina. “What?” said Uncle Vernon loudly. “Why isn't he coming too?” asked Dudley. “Well, he — he doesn't want to,” said Uncle Vernon, turning to glare at Harry and adding, “You don't want to, do you?” “Not in the slightest,” said Harry. “There you are,” Uncle Vernon told Dudley. “Now come on, we're off.” He marched out of the room. They heard the front door open, but Dudley did not move and after a few faltering steps Aunt Petunia stopped too. “What now?” barked Uncle Vernon, reappearing in the doorway. It seemed that Dudley was struggling with concepts too difficult to put into words. After several moments of apparently painful internal struggle he said, “But where's he going to go?” Aunt Petunia and Uncle Vernon looked at each other. It was clear that Dudley was frightening them. Hestia Jones broke the silence. “But . . . surely you know where your nephew is going?” she asked, looking bewildered. “Certainly we know,” said Vernon Dursley. “He's off with some of your lot, isn't he? Right, Dudley, let's get in the car, you heard the man, we're in a hurry.” Again, Vernon Dursley marched as far as the front door, but Dudley did not follow. “Off with some of our lot?” Hestia looked outraged. Harry had met this attitude before: Witches and wizards seemed stunned that his closest living relatives took so little interest in the famous Harry Potter. “It's fine,” Harry assured her. “It doesn't matter, honestly.” “Doesn't matter?” repeated Hestia, her voice rising ominously. “Don't these people realize what you've been through? What danger you are in? The unique position you hold in the hearts of the antiVoldemort movement?” “Er — no, they don't,” said Harry. “They think I'm a waste of space, actually, but I'm used to —” “I don't think you're a waste of space.” If Harry had not seen Dudley's lips move, he might not have believed it. As it was, he stared at Dudley for several seconds before accepting that it must have been his cousin who had spoken; for one thing, Dudley had turned red. Harry was embarrassed and astonished himself. “Well . . . er . . . thanks, Dudley.” Again, Dudley appeared to grapple with thoughts too unwieldy for expression before mumbling, “You saved my life.” “Not really,” said Harry. “It was your soul the dementor would have taken. . . .” He looked curiously at his cousin. They had had virtually no contact during this summer or last, as Harry had come back to Privet Drive so briefly and kept to his room so much. It now dawned on Harry, however, that the cup of cold tea on which he had trodden that morning might not have been a booby trap at all. Although rather touched, he was nevertheless quite relieved that Dudley appeared to have exhausted his ability to express his feelings. After opening his mouth once or twice more, Dudley subsided into scarletfaced silence.Q3 - What do you think of Dudley doing this? Aunt Petunia, whose face had been buried in her handkerchief, looked around at the sound. She did not seem to have expected to find herself alone with Harry. Hastily stowing her wet handkerchief into her pocket, she said, “Well — good-bye,” and marched toward the door without looking at him. “Good-bye,” said Harry. She stopped and looked back. For a moment Harry had the strangest feeling that she wanted to say something to him: She gave him an odd, tremulous look and seemed to teeter on the edge of speech, but then, with a little jerk of her head, she bustled out of the room after her husband and son. Q4 - What do you think she wanted to say to him?Chapter 4 - The Seven PottersQ1 - What did you think this chapter initially meant?It gave him an odd, empty feeling to remember those times; it was like remembering a younger brother whom he had lost. Harry looked around at the stacked shoes and umbrellas, remembering how he used to wake every morning looking up at the underside of the staircase, which was more often than not adorned with a spider or two. Those had been the days before he had known anything about his true identity; before he had found out how his parents had died or why such strange things often happened around him. But Harry could still remember the dreams that had dogged him, even in those days: confused dreams involving flashes of green light and once — Uncle Vernon had nearly crashed the car when Harry had recounted it — a flying motorbike . . . Q2 - Is there anything else about that flash of green light you think is important?Harry's heart seemed to expand and glow at the sight: He felt incredibly fond of all of them, even Mundungus, whom he had tried to strangle the last time they had met. “You got married?” Harry yelped, looking from her to Lupin. “I'm sorry you couldn't be there, Harry, it was very quiet.” “That's brilliant, congrat —” “All right, all right, we'll have time for a cozy catch-up later!”Q3 - What do you think of Lupin and Tonks getting married?“So this time, when you leave, there'll be no going back, and the charm will break the moment you get outside its range. We're choosing to break it early, because the alternative is waiting for You-KnowWho to come and seize you the moment you turn seventeen. Q4 - What would your plan be to get Harry out safely?From inside his cloak Moody now withdrew a flask of what looked like mud. There was no need for him to say another word; Harry understood the rest of the plan immediately. “No!” he said loudly, his voice ringing through the kitchen. “No way!” “I told them you'd take it like this,” said Hermione with a hint of complacency. “If you think I'm going to let six people risk their lives — !” “— because it's the first time for all of us,” said Ron. “This is different, pretending to be me —” “Well, none of us really fancy it, Harry,” said Fred earnestly. “Imagine if something went wrong and we were stuck as specky, scrawny gits forever.” Harry did not smile. Q5 - Jenn you mentioned this is unsafe in that Harry doesn't even know who they are? Are any of them using polyjuice here to cover themselves up?They might not be able to get at you or this house while your mother's charm holds, but it's about to break and they know the rough position of the place. Our only chance is to use decoys. Even You-Know-Who can't split himself into seven.” Harry caught Hermione's eye and looked away at once. “So, Potter — some of your hair, if you please.” Q6 - What would the harm be in telling everyone about Voldemort's Horcruxes?Harry dropped the hair into the mudlike liquid. The moment it made contact with its surface, the potion began to froth and smoke, then, all at once, it turned a clear, bright gold. Q7 - Any significance of it turning gold here?When he straightened up again, there were six Harry Potters gasping and panting in front of him. Fred and George turned to each other and said together, “Wow — we're identical!” “I dunno, though, I think I'm still better-looking,” said Fred, examining his reflection in the kettle. “Bah,” said Fleur, checking herself in the microwave door, “Bill, don't look at me — I'm 'ideous.” Q8 - How about the slight dig that Fleur gives here?Q9 - Who would you want guarding you if you were one of the seven potters?The broomstick spun to earth, but he just managed to seize the strap of his rucksack and the top of the cage as the motorbike swung the right way up again. A second's relief, and then another burst of green light. The owl screeched and fell to the floor of the cage. “No — NO!” The motorbike zoomed forward; Harry glimpsed hooded Death Eaters scattering as Hagrid blasted through their circle. “Hedwig — Hedwig —” But the owl lay motionless and pathetic as a toy on the floor of her cage. Q10 - How do you feel about Hedwig's death?Harry saw the strangely blank face of Stanley Shunpike — Stan — “Expelliarmus!” Harry yelled. “That's him, it's him, it's the real one!” The hooded Death Eater's shout reached Harry even above the thunder of the motorbike's engine: Next moment, both pursuers had fallen back and disappeared from view. Q11 - Is Stan Shunpike an actual Death Eater?Q12 - Why has Expelliarmus become Harry's calling card?Harry felt the bike drop a little, though the lights down on the ground still seemed remote as stars. Then the scar on his forehead burned like fire; as a Death Eater appeared on either side of the bike, two Killing Curses missed Harry by millimeters, cast from behind — And then Harry saw him. Voldemort was flying like smoke on the wind, without broomstick or thestral to hold him, his snakelike face gleaming out of the blackness, his white fingers raising his wand again —Q13 - How terrifying is this scene?It was over: He could not see or hear where Voldemort was; he glimpsed another Death Eater swooping out of the way and heard, “Avada —” As the pain from Harry's scar forced his eyes shut, his wand acted of its own accord. He felt it drag his hand around like some great magnet, saw a spurt of golden fire through his half-closed eyelids, heard a crack and a scream of fury. The remaining Death Eater yelled; Voldemort screamed, “No!”: Somehow, Harry found his nose an inch from the dragon-fire button. He punched it with his wand-free hand and the bike shot more flames into the air, hurtling straight toward the ground. Q14 - How did this happen?He felt Voldemort before he saw him. Looking sideways, he stared into the red eyes and was sure they would be the last thing he ever saw: Voldemort preparing to curse him once more — And then Voldemort vanished. Harry looked down and saw Hagrid spread-eagled on the ground below him. He pulled hard at the handlebars to avoid hitting him, groped for the brake, but with an earsplitting, ground-trembling crash, he smashed into a muddy pond. Q15 - How good of an ending is this chapter and the title of the next…

Aeschylus' Oresteia is the only extant trilogy of Greek drama. Alongside the Parthenon, the Oresteia is considered one of the two greatest 'monuments' to the Golden Age of Athens. In this trilogy - The Agamemnon, The Libation Bearers, and The Eumenides - Aeschylus dramatizes a rite of passage from savagery to civilization. Over the course of the narrative, the ancient law of blood is overcome by a new civic law, sanctioned by the gods. The word "justice" (Dikê) is used more often in the Oresteia than in any other Greek tragedy. Through these verses, we witness a struggle from the hazy, mysterious world of archaic Greece, governed by gods who behaved capriciously and unpredictably, into the clarity of civic life, in which human beings are empowered to make the contextual decisions of governance. Michael D. Davis, lectures on Philosophy of Tragedy: https://youtube.com/playlist?list=PLiyEzRZtxXGU_Q5-jFqhIHJYbsahnQBNd&si=7o-LZMjQfX5Mb657 Episode art: John Singer Sergeant - Orestes Pursued by the Furies

Ted Hughes, one of the giants of twentieth-century British poetry, was born in Mytholmroyd, Yorkshire. After serving in the Royal Air Force, Hughes attended Cambridge, where he studied archeology and anthropology and took a special interest in myths and legends. In 1956, he met and married the American poet Sylvia Plath, who encouraged him to submit his manuscript to a first-book contest run by the Poetry Center. Awarded first prize by judges Marianne Moore, W. H. Auden, and Stephen Spender, The Hawk in the Rain (Faber & Faber, 1957) secured Hughes's reputation as a poet of international stature. According to poet and critic Robert B. Shaw, Hughes's poetry signaled a dramatic departure from the prevailing modes of the period. The stereotypical poem of the time was determined not to risk too much: politely domestic in its subject matter, understated and mildly ironic in style. By contrast, Hughes marshaled a language of nearly Shakespearean resonance to explore themes which were mythic and elemental.Hughes remained a controversial figure after Plath's suicide left him as her literary executor and he refused (citing family privacy) to publish many of her papers. Nevertheless, his long career included unprecedented best-selling volumes such as Lupercal (Faber & Faber, 1960), Crow (Faber & Faber, 1970), Selected Poems 1957–1981 (Faber & Faber, 1982), and Birthday Letters (Faber & Faber, 1998), as well as many beloved children's books, including The Iron Man (Faber & Faber, 1968), which was adapted as The Iron Giant (1999). With Seamus Heaney, he edited the popular anthologies The Rattle Bag (Faber & Faber, 1982) and The School Bag (Faber & Faber, 1997). Hughes was named executor of Plath's literary estate and he edited several volumes of her work. Hughes also translated works from classical authors, including Ovid and Aeschylus. Hughes was appointed Britain's Poet Laureate in 1984, a post he held until his death in 1998. Among his many awards, he was appointed to the Order of Merit, one of Britain's highest honors.Hughes married Carol Orchard in 1970, and the couple lived on a small farm in Devon until his death. His forays into translations, essays, and criticism were noted for their intelligence and range. Hughes continued writing and publishing poems until his death from cancer on October 28, 1998. A memorial to Hughes in the famed Poets' Corner of Westminster Abbey was unveiled in 2011.-bio via Poetry Foundation Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Episode 183 it is, and we're going to take stock as we enter 1851. In war, truth is the first casualty. It's a military maxim attributed to Aeschylus (“ES-kuh-lus"), the father of Greek tragedy. Aeschylus actually fought in the front lines against the Persians at Marathon in 490 BC. We don't know much about the rest of his life, but we do know that his work called Persians which was financed by Pericles was such a success that he was invited to Sicily by Hieron of Syracuse to restage the play. His life bridged the Archaic and Classical ages. Considered even by the ancients to be difficult and old-fashioned, Aeschylus was also quite innovative in the structures, personnel, and even subjects of his 89 plays, of which we have only seven. Later, in In 1758 the famous lexicographer Samuel Johnson penned a short item in “The Idler which included the following this statement .. ‘ “Among the calamities of War may be justly numbered the diminution of the love of truth, by the falsehoods which interest dictates and credulity encourages.” Credulity. A willingness to believe whatever is dished up. The lovers of social media are infected by a disease called credulity. In this series I have endeavoured to avoid relying on credulity by constantly referring to original sources, documents, oral history, cross-referencing where I can. There is nothing more important than deploying verification. Credulity is the tendency to be too ready to believe that something is real or true, often without sufficient evidence or critical examination. It refers to a person's inclination to accept claims or assertions with little skepticism or questioning. Southern African history is full of credulity being punctured by reality. Most politicians make a living out of abusing credulity. With that melodromatic introduction, let us dive into the deep pool of tangibility regarding Mlanjeni's War, the 8th Frontier War which broke out on Christmas day 1850. The military villages along the Thyumie River were gone, burned down, dozens of British soldiers were dead, killed in Boma Pass or killed in their military villages named Auckland, Juanasburg and Woburn. In the mountains above Thyumie River, missionary Niven and his family had walked out of Keiskamma hoek and straight into a party of amaXhosa warriors. It is true that respected Rharhabe chief Ngqika had declared the missionaries and their homes protected, but that was twenty years ago and the respected chief was long gone. Into our story steps one of the most remarkable characters we've heard about thus far, a man called Hermanus Matroos. Brown was to remark later later that Matroos “… spoke English more precisely than I have ever heard any other native do…” Hermanus Matroos, otherwise known as Ngxukumeshe enters our tale, a large and imposing man, broad shouldered, powerful. Hermanus means army man, warrior, brave warrior and comes from the German, Herman. Matroos means sailor. And Ngxukumeshe means in the vanguard - at the front. These names fit the man, a warrior born of a slave sailor, a man who was always at the front of everything.

Unholy Distractions - Defending Commandment ViolationsWebsite: http://www.battle4freedom.com/studio/?unholy-distractionsNetwork: https://www.mojo50.comStreaming: https://www.rumble.com/Battle4Freedomhttps://www.biblegateway.com/passage/?search=Exodus+20%3A3-4&version=CJBExodus 20:3-4You are to have no other gods before me. You are not to make for yourselves a carved image or any kind of representation of anything in heaven above, on the earth beneath or in the water below the shoreline.https://x.com/Cobratate/status/1817614047988380045Andrew TateI am protesting outside of the French embassy for mocking Jesus during the Olympic ceremony.The police are threatening to arrest me for unlawful assembly.https://rumble.com/v58xbyd-twisi-ron-phillips-olympics-2024-open-ceremony-last-supper.htmlTWISI - Ron Phillips - Olympics 2024 - Open Ceremony Last Supperhttps://www.britannica.com/topic/Last-Supper-fresco-by-Leonardo-da-VinciLast Supperpainting by Leonardo da VinciLast Supper, one of the most famous artworks in the world, painted by Leonardo da Vinci probably between 1495 and 1498 for the Dominican monastery Santa Maria delle Grazie in Milan. It depicts the dramatic scene described in several closely connected moments in the Gospels, including Matthew 26:21–28, in which Jesus declares that one of the Apostles will betray him and later institutes the Eucharist.https://www.britannica.com/topic/Great-DionysiaGreat Dionysiaancient Greek festivalGreat Dionysia, ancient dramatic festival in which tragedy, comedy, and satyric drama originated; it was held in Athens in March in honour of Dionysus, the god of wine. Tragedy of some form, probably chiefly the chanting of choral lyrics, was introduced by the tyrant Peisistratus when he refounded the festival (534/531 bc), but the earliest tragedy that survives, Aeschylus' Persai, dates from 472.https://www.bridgemanimages.com/en-US/explore/artist/Bellosio-Carlo-1801-1849-/gallery'Carlo Bellosio (1801-1849) ' images and/or videos resultshttps://www.royalacademy.org.uk/art-artists/work-of-art/banquet-of-the-godsBanquet of the Gods, 1719-20William Kent (1685 - 1748)This is one of three ceiling paintings that Kent created for Burlington House, following his return to England in 1719. They featured as part of the 3rd Earl of Burlington's major renovations, which championed a revival of Palladian architecture and Italianate interior design in Britain.The feast taking place on the ceiling may represent the wedding banquet of Cupid and Psyche. Having endured numerous trials, the god of love and his mortal bride have finally attained Jupiter's permission to marry. Kent probably drew inspiration from Raphael's famous depiction of the same subject at the Villa Farnesina, which he likely saw while studying in Italy during the previous decade.Surprise twist after woman, 24, tracks down bio parents with DNA testhttps://mol.im/a/13673577https://www.dailymail.co.uk/sport/olympics/article-13686845/Mens-triathlon-Paris-Olympics-POSTPONED-Seines-water-quality.htmlMen's triathlon at the Paris Olympics is POSTPONED because of Seine's water qualityhttps://www.cnn.com/2024/07/27/us/sean-grayson-misconduct-sonya-massey-death/index.htmlDeputy who killed Sonya Massey was removed from the Army, had DUIs and needed ‘high stress decision' classes, records showhttps://www.dailymail.co.uk/news/article-13686749/Terrifying-video-shows-zombie-drug-addicts-sheltering-Alberta-Edmonton-bus-station.htmlTerrifying video shows 'zombie' drug addicts sheltering in Alberta bus station just hours before school children arrive in scenes hauntingly similar to The Walking Dead

This week Jeff and Dave continue their look at Carl Richard's 2009 masterpiece on Classics in America. As Richard surveys the antebellum landscape, there are some surprises in store. For example, devotion to the Classics, to the expanding literary reign of 'Tully' was not limited to the eastern elite along the seaboard. Even in the hinterlands, rustic frontier types were clutching copies of Cicero's Catilinarians. And, with the war for Greek independence raging abroad, Lord Byron and others fostered a wave of Hellenism that swept through American schools. No longer did the Romans dominate. Now, Aeschylus, Euripides, Xenophon, and a host of others--both in the original and in translation--rode a wave of new found popularity. Perhaps most surprisingly, the President of Yale Jeremiah Day briefly considered appointing a Prof. of Whittling. So grab your penknife, your whittlin' gloves, a jug of Mountain Dew, and tune in!

When Dionysus, god of wine and insanity, appears to Ariadne, determined to marry her, she tells him the tale of her ancestor Io.  Written and directed by Bibi Jacob. With Nigel Pilkington as Dionysus and Bibi Jacob as Ariadne. Original violin loops were created and performed by Chloe Dunn. Sound and production by Geoff Chong.    Sources include: Aeschylus' 'Prometheus Bound', Moschus' poem 'Europa', Walter Otto's ‘Dionysus: Myth and Cult' and Roberto Calasso's ‘The Marriage of Cadmus and Harmony,'  

Sophocles was a friend of Herodotus and a contemporary of the other Greek tragedy playwrights Aeschylus and Euripides. He wrote over 120 plays and seven of those survive. The Theban Plays (Oedipus the King, Oedipus at Colonus, and Antigone) cover major events in the life of the mythical king Oedipus of Thebes and of his children.In this podcast episode, I talk about the two Sophoclean plays about Oedipus and share what I learned about Sophocles' discussion of prophecy, the Greek concept of a curse, and the little tiny light at the end of this disastrous tunnel of tragedy.I read translations by David Grene, Paul Woodruff, and Robert Fagles. Get full access to Books of Titans at booksoftitans.substack.com/subscribe

Seven plays survive out of more than 70 written by Aeschylus during his lifetime. Last week, I covered The Oresteia, his famous trilogy, and this week I cover his four other surviving tragedy plays.I highlight the following three contrasts I've found throughout Greek Literature and share what we learn within these Aeschylean plays:* Fate vs The Will of Zeus* Ares (force) vs the Areopagus (debate/civilization)* Family Curse vs Human Agency Get full access to Books of Titans at booksoftitans.substack.com/subscribe

In this episode, Erik Rostad discusses book 13 from his 2024 Reading List - The Oresteia by Aeschylus.Show Notes* Aeschylus* Purchase The Oresteia* Support the Podcast - Hire EPR Creations for Online Consulting* The Books of Titans Book Subscription with Landmark Booksellers* The Great Books Reading List* 2024 Reading List* Reading Resources* Books of Titans Website Get full access to Books of Titans at booksoftitans.substack.com/subscribe

Pigweed, Crowhill, Longinus, and all three wives went to Baltimore to see an adaptation of The Oresteia, which was originally a 3-part play by Aeschylus. In this podcast they reflect on the play and related issues. The play focuses on the web of vengeance within the family of Agamemnon and Clytemnestra, starting with Agamemnon's sacrifice of their daughter, Iphigenia, before the battle of Troy. When Agamemnon returns home with Cassandra the prophetess of Apollo as a spoil of war, Clytemnestra invites him back in regal style, but then murders both her husband and his new girlfriend. It then falls on Orestes, their son -- urged on by their daughter Electra -- to avenge the death of his father. But then, who is to avenge Clytemnestra? How far does this go? Where does it end? The play addresses issues of just war, faith, free will and determinism, religious and moral obligations, family relations, and vengeance and justice. The show ends with a discussion of Troy and the alleged historical backdrop to the play.

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comChristian is a poet and author, and, in my view, one of the most piercing writers on faith in our time. He served as the editor of Poetry magazine from 2003 to 2013, and his work has appeared in The Atlantic, Harper's Bazaar, The New Yorker, the NYT Book Review and others. He's the author, editor, or translator of more than a dozen books, and his new one is called Zero at the Bone: Fifty Entries Against Despair. Matt Sitman and I did a pod episode with him 12 years ago; so it was a real delight to reconnect for a second. I think it's one of the best episodes we've yet produced. But make up your own mind. For two clips of our convo — on finding God through suffering, and getting a glimpse of the divine through psychedelics — pop over to our YouTube page. Other topics: growing up in poverty and trauma in West Texas; his father was a Bible salesman turned doctor but volatile and addiction-prone; murder-suicide in his extended family; Christian's anger over his upbringing; discovering poetry in college was a life preserver; the silence found in the middle and end of poems; Emily Dickinson's dashes; Zadie Smith; how pure joy is destabilizing; C.S. Lewis; how the comforts of modern life insulate us from the ultimate questions; Pascal; the voiceless film Into Great Silence; Terrence Malick; me contemplating the Trinity on MDMA; an argument between Jesus and Nietzsche on magic mushrooms; how Nietzsche drove Christian away from God in college but eventually strengthened his faith; eternal return; “Christ is much larger than Christianity”; my friend Patrick who perished from AIDS; Christian facing oblivion with cancer many times; questioning his own faith constantly; Aeschylus; Rumi; Montaigne; Leonard Cohen; eternity as a release from time; Augustine on time; Job and undeserved suffering; theodicy; Anna Kamieńska's poem “A Prayer That Will Be Answered”; Larkin's “Church Going” and “This Be The Verse”; Auden; Carlo Rovelli and perception; and the profound feminism of Jesus.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: Abigail Shrier on why the cult of therapy harms children, Richard Dawkins on religion, Johann Hari on weight-loss drugs, Adam Moss on the artistic process, and George Will on Trump and conservatism. Please send any guest recs, dissents, and other pod comments to dish@andrewsullivan.com.

Join the weekend episode with Victor Davis Hanson and cohost Sami Winc for analysis of Biden's speech on Alexei Navalny death, Fani Willis's trial, the Shellenberger-Taibbi-Gutentag investigation, a third party in our democracy, and the ancient Greek tragedians, Sophocles and Aeschylus.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The queens discuss some unusual, at times outlandish (or downright made-up), and unfortunate ends  some poets have met. Support Breaking Form!Review the show on Apple Podcasts here.Buy our books:     Aaron's STOP LYING is available from the Pitt Poetry Series.      James's ROMANTIC COMEDY is available from Four Way Books. Read more about Charlotte Brontë (including some of her poems) here. Brad Gooch's biography of Keith Haring is called Radiant: The Life and Line of Keith Haring, and like Diane Seuss's book Modern Poetry, is releasing on March 5, 2024.Here's a cartoon rendition of the totally made-up story of Aeschylus's death.Francis Bacon died after contracting a chill, which he developed after stuffing a chicken full of snow. Read some of his--Bacon's, not the chicken's--poems here.Read some Oscar Wilde poems here.To read more about Christopher Marlowe and also some of his poems, click here.Here's an entertaining and educational video about Dante Alighieri. Watch a (kinda long but totally worth it, girl) documentary about Zelda Fitzgerald (60 min). Also, read Aria Aber's poem "Zelda Fitzgerald" here. You can read some of Rupert Brooke's best poems here. Read more about Frank O'Hara's tragic death on Fire Island here. As outlined in the medical journal Clinical Infectious Diseases, Keats, who was often in poor health, was regularly in contact with one of the deadliest diseases of his day: tuberculosis. Keats cared for his infected brother, Tom, before contracting the disease, then known as consumption, himself. As his illness took hold, Keats relocated to Italy in the hope that the climate would have a positive effect on his ailments. He was buried in Rome, where his gravestone describes him as "one whose name was writ in water." Read more here.Here's a great 10-minute talk on Elizabeth Barrett Browning.Watch Suzanne Somers's Thighmaster commercial here.

Epic poetry and tragic drama provide us with some of the richest ancient Greek depictions of women who are married to soldiers. In tales of the Trojan War, as told by Homer, Aeschylus, Sophocles, and Euripides, we encounter these mythical warriors' wives: Penelope, isolated but resourceful as she awaits the return of Odysseus after his lengthy absence; the war widow Andromache, enslaved and displaced from her homeland after the fall of Troy; the unfaithful and murderous Clytemnestra; and Tecmessa, a war captive who witnesses her partner's breakdown and suicide in the aftermath of battle. Warriors' Wives: Ancient Greek Myth and Modern Experience (Oxford University Press, 2023) by Dr. Emma Bridges compares the experiences of these mythical characters with those of contemporary military spouses. Dr. Bridges traces aspects of the lives of warriors' wives—mythical and real, ancient and modern—from the moment of farewell, through periods of separation and reunion, to the often traumatic aftermath of war, to consider the emotional, psychological, and social impacts of life as a military spouse. By unearthing a wealth of contemporary evidence for the lives of the often silenced and unacknowledged partners of those who serve in the military, and by examining this alongside the ancient stories of warriors' wives, Warriors' Wives sheds fresh light on the experience of being married to the military. This interview was conducted by Dr. Miranda Melcher whose forthcoming book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Liv reads a selection of spooky content from ancient authors: Aeschylus' Agamemnon, translated by Herbert Weir Smyth; Aeschylus' Eumenides, translated by Herbert Weir Smyth; Lucan's Pharsalia; Letters of Pliny the Younger, translated by William Melmoth. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.