Podcasts about Agamemnon

So, is there a Homeric influence on the New Testament? Or, more specifically (per MacDonald), did Luke deliberately pattern and structure elements in Acts of the Apostles on episodes from Iliad 2? In this episode, the guys consider the case that MacDonald lays out, namely that Luke pairs the visions of Cornelius and Peter (in Acts 10 and 11) in a way that tags the Zeus-sent dream to Agamemnon and Odysseus' recollection of the portent of the serpent and the sparrow. Does it hold up? Would a first century audience have recognized it as such? Are the linguistic parallels convincing? And perhaps the biggest question of all: why tag Homer in the first place?

Christian Limon is the former Chief Growth Officer at Wish, which was the top spending advertiser on Google and Facebook. He was also the Chief Growth Officer at Tubi and Gemini. Throughout his career, Christian has achieved five exits and $28 billion in IPO and M&A proceeds. He has launched 20 apps and led 33 more apps on growth and monetization. Eric Seufert is the General Partner at Heracles Capital, a pre-seed venture capital fund focused on the mobile technology ecosystem. After beginning his career at Skype, he held a marketing leadership role at Rovio, where he launched Angry Birds 2. Eric also founded Agamemnon, a mobile marketing analytics startup acquired in 2017. He is the author of Freemium Economics and manages Mobile Dev Memo, a blog on mobile advertising and monetization. In this episode… Today's marketers face a challenging paradox: the more data they have, the harder it is to identify what's valuable. Between conflicting attribution reports, algorithm-driven campaign shifts, and pressure to scale fast, many teams optimize for metrics that don't move the needle. How can growth leaders cut through the noise to build scalable and realistic strategies? Seasoned mobile growth strategist Christian Limon emphasizes the need for broad, strategic creative testing that breaks out of traditional methods like UGC. He recommends marketers tap into unconventional sources and avoid over-controlling creative input. Leading economic and digital marketing strategist Eric Seufert urges brands to prioritize commercial outcomes like profit and ROAS rather than exclusive platform metrics. Marketers can also use AI to enhance workflows and generate ideas for optimizing LTV.  Join William Harris in today's episode of the Up Arrow Podcast as he chats with Christian Limon, growth strategist, and Eric Seufert, General Partner at Heracles Capital, about optimizing growth marketing. Together, they discuss how to identify meaningful marketing metrics, how to build systematic, creative-first campaigns, and the dangers of over-diversifying channels.

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A story of war, honour, and destiny, The Iliad is one of the greatest epics of in history. Written by Homer and featuring legendary figures like Achilles, Hector, and Agamemnon, it captures the drama and devastation of the final days of the Trojan War.In this episode of The Ancients, Tristan Hughes is joined by Professor Edith Hall to explore the origins, themes, and lasting influence of The Iliad. Together, they dive into the poem's portrayal of fate and prophecy, its vivid depictions of gods and warriors, and the explosive conflict between Achilles and Hector. Edith also reveals how The Iliad's language carries an apocalyptic tone - offering insight into how the poem was understood in the ancient world and why it still resonates today.Presented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

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.

"Dance Talk” ® with Joanne Carey with special guest Samuel Pott, founder and artistic director of Nimbus Dance.In this episode of "Dance Talk” ® with Joanne Carey interviews Samuel Pott, the artistic director of Nimbus Dance. They explore his journey into dance, the founding of Nimbus Dance, and the upcoming world premiere of the re-imagined Firebird. They touch on the collaboration with the New Jersey Symphony, the thematic elements of Firebird, and the personal connections that inform the work.Together they discuss the benefits of dance, the importance of community engagement, and the creative process behind reimagining classic works. Samuel shares insights from his experiences with the Martha Graham Dance Company and emphasizes the significance of authenticity in storytelling through dance.Samuel Pott (Founding Artistic Director) founded Nimbus in 2005 . Mr. Pott's work as a performer, choreographer, educator, and arts leader, is dedicated to the authentic, humanistic, and equitable engagement that emerges in individuals and in communities through deep exploration and learning in the dance and the arts.Under his direction, the organization has toured nationally, built the Nimbus Arts Center at The Lively in Downtown Jersey City, developed the School of Nimbus which serves over 400 students onsite and many thousands in offsite community programs annually, and become the largest contemporary dance organization in the State of New Jersey. Mr. Pott's choreography has embodied the organization's endless fascination with exploration and engagement with important themes of the day, and collaboration with artists from many genres, among them: composers Daniel Bernard Roumain, Samson Young, Judd Greenstein, Aaron Parks, and Qasim Naqvi; visual artists Nicola Lopez, Bryant Small, Laia Cabrera/Isabelle Duverger, Theda Sandiford; and writers Alysia Souder and Rashad Wright. Pott maintains a multi-year artistic partnership with the New Jersey Symphony. Mr. Pott's 20+ original works for Nimbus are complemented by his commitment to support the work of diverse established and emerging choreographers through commissions, including: Dawn Marie Bazemore, Sofia Nappi, Darshan Singh Bhuller, Yoshito Sakuraba, Pedro Ruiz, Vernard Gilmore and Korhan Basaran. As a performer, Mr. Pott danced as a soloist with the Martha Graham Dance Company, performing in iconic roles–the Husbandman in Appalachian Spring, Agamemnon in Clytemnestra, and Adam in Embattled Garden–and new choreographic works created by a range of leading contemporary choreographers including Larry Kegwin, Ann Bogart, Robert Wilson, and Lar Lubovitch. Prior to joining the Graham company, Mr. Pott performed as a lead dancer with American Repertory Ballet, Oakland Ballet, and Savage Jazz Dance Company, in a wide range of new and classical repertory. A recipient of Choreography Fellowships from the New Jersey State Council on the Arts in 2008, 2017, and 2023, and named a Distinguished Teaching Artist by the Council in 2012, Pott was one of 25 arts leaders nationally selected for the Association of Performing Arts Presenters' (APAP) inaugural Leadership Fellows Program, serves on the Dance Advisory Council for New Jersey Performing Arts Center and the Diversity, Equity, and Inclusion Committee for ArtPride NJ, and is a co-founder of the Jersey City Arts Council.To get tickets to see Nimbus Dance, March 7th, 8th & 9th and to catch this world premiere click belowhttps://www.njsymphony.org/events/detail/the-firebird-with-xian-zhangTo learn more about the company and their programshttps://www.nimbusdance.org/“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdanceTune in. Follow. Like us. And Share.Please leave a review!“Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Welcome back to the Dirt Diaries! I am diving into the realm of mythology slightly with this episode as we delve into the site of Mycenae.Our buddy Heinrich Schliemann dug Grave Circle A after being sued for not sharing his treasure, so we are in for a treat! We're looking in the shaft graves and in the tomb of Agamemnon himself for this episode, so you won't want to miss it!-Stay curiousWant more Dirt Diaries? Join patreon with all your history-loving friends!patreon.com/TheDirtDiariesTravel with me, my socials, and more!https://beacons.ai/dirtdiaries.tenn

Few figures in Greek mythology embody vengeance like Elektra, daughter of Agamemnon and Clytemnestra. Betrayal, grief, and justice shaped her tragic fate.In this episode of The Ancients, Tristan Hughes is joined by Professor Armand D'Angour to explore Elektra's story and its powerful new London stage production starring Brie Larson. Along the way, they delve into Sophocles' and Euripides' strikingly different portrayals - one noble and resolute, the other bitter and broken - unpacking what these versions reveal about morality, fate, and female agency in the ancient world.See Brie Larson star as Elektra in London's West End: https://www.thedukeofyorks.com/elektraPresented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

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.

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,...

Captain's Share Episode 17 Book 5 in the Trader's Tales From the Golden Age of the Solar Clipper series The crew of the Agamemnon takes a short break and gets into new trouble. A reward comes from an unexpected direction. Chapters 45-46 of Captain's Share, the fifth book in the Trader's Tales From the Golden Age of the Solar Clipper series. Written, Narrated, and Produced by Nathan Lowell Distributed by Scribl To support the author, and for more quality ebooks and audiobooks without commercials, please visit scribl.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

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....

Erin and Brennan find a time hole to escape the supreme being who doesn't seem like a good guy. This week we talked about Time Bandits, the film made by 2/3rds of Monty Python that everyone should know about. We hop through the annals of time with 6 bandits (angels?) plus Kevin and encounter the best cameos. We have Sean Connery, Shelley Duvall, John Cleese, Michael Palin, Ian Holm, R2-D2 (Kenny Baker!), and a Jawa (Jack Purvis)! We fight a minotaur with Agamemnon, give two pennies for the poor to rub with Robin Hood, and Napoleon watches little people hitting each other (aka Erin going through daily life). All the while, we follow our selfish leader, Randall, though I'm pretty sure the Fortress of Ultimate Darkness is a bad place to go. 

Welcome to another episode of Pivot Me! Today, we're joined by Sean, a historian who weaves ancient stories into practical lessons for modern business and leadership. Sean shares how he transitioned from being a traditional historian to helping entrepreneurs navigate challenges using timeless principles. We discuss: The powerful story of Agamemnon and how it applies to goal setting and sacrifice. Why small sacrifices often become institutionalized—and how to avoid them. The importance of defining boundaries in business and life. How ancient myths and artifacts can provide insights into modern leadership dilemmas. Sean's perspective will challenge the way you think about success, sacrifice, and sustainability in both your business and personal life. Key Takeaways: Sacrifice with intention: Define what you're willing to give up before pursuing big goals. History as a mirror: Learn from ancient stories to avoid repeating mistakes. Boundaries matter: Success doesn't have to come at the cost of your humanity or relationships. Connect with Sean: • Website: https://pastforwardtalks.com • Book an appointmrnt: https://calendly.com/sean-stewart-speaker/discovery-call-with-sean-stewart?month=2025-01 • LinkedIn: https://www.linkedin.com/in/sean-stewart-speaker/ --------------------------------------- Want to be part of a transformative experience for entrepreneurs and leaders?

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.

Captain's Share Episode 13 Book 5 in the Trader's Tales From the Golden Age of the Solar Clipper series Ishmael makes a discovery about his First Mate and solves a problem before getting underway. The Agamemnon visits Odin's Outpost. Chapters 35-37 of Captain's Share, the fifth book in the Trader's Tales From the Golden Age of the Solar Clipper series. Written, Narrated, and Produced by Nathan Lowell Distributed by Scribl To support the author, and for more quality ebooks and audiobooks without commercials, please visit scribl.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Captain's Share Episode 12 Book 5 in the Trader's Tales From the Golden Age of the Solar Clipper series On the run out to Welliver, Ishmael discovers who's been using the Agamemnon's account, and picks up an interesting cargo. Chapters 32-34 of Captain's Share, the fifth book in the Trader's Tales From the Golden Age of the Solar Clipper series. Written, Narrated, and Produced by Nathan Lowell Distributed by Scribl To support the author, and for more quality ebooks and audiobooks without commercials, please visit scribl.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Captain's Share Episode 9 Book 5 in the Trader's Tales From the Golden Age of the Solar Clipper series After some minor adjustments to the fixtures, the Agamemnon finally gets underway for Welliver. Chapters 24-26 of Captain's Share, the fifth book in the Trader's Tales From the Golden Age of the Solar Clipper series. Written, Narrated, and Produced by Nathan Lowell Distributed by Scribl To support the author, and for more quality ebooks and audiobooks without commercials, please visit scribl.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

AMDG. Join Bonnie, Steven, and Jordan as they unpack the famous Greek play, Oedipus Rex. The tragic play slowly unravels the story of the downfall of the infamous king, Agamemnon. From murder to unexpected Biblical connections, there is no shortage of material to cover. The team reveals everything you need to know about Oedipus Rex, from historical context to major plot points, including must-ask questions and conversation starters to share with your children or think about on your own. The team discusses what you should learn in a liberal arts education and the tools you can develop in high school to keep you a step ahead; the surprising subjects that aren't classical; how one saint changed the game in classical education; “the blue book” and what it teaches; and why the Humanities Series is the perfect segue into the Christmas celebration. Listen to the end to hear a special sneak peek into the next Humanities episode, introducing a classical epic that completely subverted the expectations around Greek culture and social views.   Links mentioned & relevant:  Five Misconceptions about the Liberal Arts from the CLT Journal  René Girard, Theology, and Pop Culture, to which Jordan Almanzar contributed a chapter  Conversations about Jimmy Mitchell's Let Beauty Speak  Session 1  Session 2  Session 3   Implementation of Ignatian Education in the Home by Kolbe Academy co-founder Francis Crotty  Related Kolbecast episodes:  in this Humanities series:  220 Decoding Mythology to Reveal Christianity  225 On the Same (Greco-Roman) Page  229 Take a Note from Homer  234 Adding Color to What Is Black & White  221 A Survey and a Starting Point  188 Challenges as Opportunities and 219 The Upside of Anxiety with Dr. Kevin Majeres  109 A Lifetime Venture with Dr. George Harne  Have questions or suggestions for future episodes or a story of your own experience that you'd like to share? We'd love to hear from you! Send your thoughts to podcast@kolbe.org and be a part of the Kolbecast odyssey.   We'd be grateful for your feedback! Please share your thoughts with us via this Kolbecast survey!   The Kolbecast is available on Apple Podcasts, Spotify, and most podcast apps. By leaving a rating and review in your podcast app of choice, you can help the Kolbecast reach more listeners. The Kolbecast is also on Kolbe's YouTube channel (audio only with subtitles).  Using the filters on our website, you can sort through the episodes to find just what you're looking for. However you listen, spread the word about the Kolbecast! 

THE FINAL BOOK! Dcn. Garlick is joined by Adam Minihan, David Niles, Thomas Lackey, and Dr. Frank Grabowski to discuss Book 24 of the Odyssey: Peace. Check out thegreatbookspodcast.com for more information.From our guide:111. What happens in book twenty-four? Hermes leads the souls of the suitors to Hades, to the fields of asphodel, where they meet Achilles and Agamemnon (24.130). One of the suitors tells Agamemnon their story, and Agamemnon praises Odysseus calling him “happy” and praises his wife Penelope in contrast to his wife, Clytemnestra (24.210). Meanwhile, Odysseus and his men arrive at his country estate, and he elects to test his father, Laertes (24.238). Laertes passes the test, and Odysseus reveals himself to his father by showing him the scar (24.368). Elsewhere on Ithaca, the families of the suitors have discovered their deaths and cries arise in the city (24.457). Eupithes, father of Antinous, rallies the kinsmen of the suitors to take revenge upon King Odysseus (24.471). Medon, the bard, warns the mob that the deathless gods helped Odysseus (24.485), and Halitherses, a seer, tells them it was due to their own “craven hearts” that the massacred occurred (24.501).Athena intercedes on Odysseus' behalf, and Zeus declares there should be peace in Ithaca (24.534). The mob arrives outside the country estate, and Odysseus, Laertes, Telemachus, and others prepare for combat (24.552). Athena strengthens Laertes to spear Eupithes in the head (24.576), and then she brokers peace between the two factions (24.584) 112. Who gained the most glory: Achilles, Agamemnon, or Odysseus?The opening passage on the plains of asphodel serves to compare the lives of Achilles, Agamemnon, and Odysseus. Agamemnon recounts the funeral of Achilles and the glory he achieved there, e.g., the Muses sang, he's buried in a golden urn made by Hephaestus, etc. (24.64). Agamemnon explicitly states Achilles has achieved immortal glory (24.100), and Achilles' death and burial serves as a comparison to the ignoble death of Agamemnon (24.30). If Agamemnon would have died in glory at Troy, he too could have had immortal glory—but instead, he was betrayed and slaughtered by his own wife. Despite Achilles having the better of the glory, we have already seen that he would trade it all in to be alive again—even if only to be a dirt farmer. Thus, when Agamemnon calls Odysseus “happy,” this seems to be a final judgment that Odysseus has found the best path: he has the glory (kleos) of both fighting in Troy and returning home—but he also now has political and familial peace. In a certain way, whereas Achilles had to choose between two fates (glory or peace), Odysseus has been given both.Good work everyone!

Dcn. Harrison Garlick is joined by Mrs. Rachel Greb to discuss Book 23 of the Odyssey: The Great Rooted Bed. Check out thegreatbookspodcast.com for more resources!From our written guide:108. What happens in book twenty-three?The old maid Eurycleia, laughing with delight, runs and tells Penelope that the day she's dreamed of is here: Odysseus has come home (23.05). “Penelope's heart busts in joy” upon hearing that the beggar in the hall was actually her husband (23.34). Penelope, however, falls back into her guarded skepticism (23.75). She enters the hall and sits in silence studying his face in “numbing wonder” (23.100). Meanwhile, Odysseus counsels Telemachus on the threat of the suitors being avenged and asks that the whole house be full of dancing and merrymaking to hide the fact the suitors have all been slain (23.146). Odysseus is bathed, and Penelope instructs her servants to drag the marital bed out the chamber for this “strange man” to sleep on (23.193). Odysseus falls into a “fury,” as he knows the marital bed he made cannot be moved: it is made of the stump of an olive tree still rooted in the ground (23.203). Odysseus passes the test, and Penelope runs to him and embraces him in tears (23.230). Odysseus tells her of his penitential journey he must undertake to appease Poseidon (23.282), and, after the two delight in each other, he tells her of his journey home (23.349). The book ends with Odysseus, inspired by Athena, going out into the country to visit his father (23.407). 109. What should be noted about the reunion of Penelope and Odysseus?Penelope's “heart bust[ing] in joy” at hearing the beggar was Odysseus again raises the question of what she already suspected. Despite the reaction, she quickly resumes her guarded skepticism (23.75). Most notably, Penelope is not convinced by the scar (22.83), and we should recall Telemachus' earlier concern that a god could deceive them in the guise of Odysseus. Penelope shares this concern (23.250). What test has Penelope devised to avoid this fate? Note that Telemachus cannot understand what is happening between the man of twists and turns and the matchless queen of cunning (23.111).Penelope's test is one of the intimate knowledge between husband and wife. The knowledge of the marital bed is the “secret sign” between them (23.226), as it is carved in part from a stump still rooted in the ground (23.222). The immovable marriage bed is an analogue for Penelope's fidelity to her husband. It is the final answer to the parallel narrative of Agamemnon and Clytemnestra.Next week Book 24 and the end of the Odyssey!

PREVIEW: HOMER'S ILIAD: A conversation with Professor Emily Wilson reveals how six years of translation work led her to develop respect and sympathy for the troubled character of Agamemnon. More soon. 500BCE

It is 1793 and France has declared war on Britain, meaning that the British navy must serve as both sword and shield to Europe. Horatio Nelson is at this time a slim and sickly 34 year old captain who nevertheless burns with the zeal to serve his king and country, and has recently taken over command of the impressive Agamemnon. Meanwhile, the British navy has taken Toulon by the summer of 1793 through diplomatic means - its foothold in the Mediterranean - but is struggling to hold it. Upon arriving in the city Nelson is shocked to find it besieged by the French, under the leadership of one Napoleon Bonaparte - the first time that these two titanic rivals of history will brush shoulders, but not the last. At last the city falls to the French, and the British must go in search of another Mediterranean base. They settle upon Corsica - Bonaparte's homeland. It is there, on the morning of the 12th of July that during the siege of Calvi that Nelson is struck in the face by a spray of stone and shrapnel, severely blinding his left eye forever more. Will this critical injury prematurely end his promising career? Just as a great armada of Spanish and French ships gathers on the horizon, heralding the coming one of history's bloodiest naval battles... Join Dominic and Tom as they discuss the Siege of Toulon, Nelson's heroic early forays into the Mediterranean, and the dramatic aftermath of his first near fatal injury. _______ LIVE SHOWS *The Rest Is History LIVE in the U.S.A.* If you live in the States, we've got some great news: Tom and Dominic will be performing throughout America in November, with shows in San Francisco, L.A., Chicago, Philadelphia, Washington D.C., Boston and New York. Tickets on sale now at TheRestIsHistory.com _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

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!

Dcn. Harrison Garlick is joined by independent scholar and friend of the podcast Mr. Thomas Lackey to discuss book 16 of the Odyssey: Father and Son.Check out thegreatbookspodcast.com for our written guide!From the guide:83. What happens in book sixteen?Telemachus arrives at the home of the Swineherd and, the Swineherd greets him like a father welcoming “home his darling only son” (16.19). Telemachus meets Odysseus disguised as a beggar, and the three men discuss the problem of the suitors (16.100). Telemachus tells the Swineherd to tell Queen Penelope he is back in Ithaca (16.148), and to have one of her servants tell Laertes the same (16.172). After the departure of the swineherd, Odysseus sees Athena outside the house under the guise of a woman “beautiful, tall and skilled at weaving things” (16.179). Odysseus goes to meet her, and she says now is the time to reveal himself to his son, Telemachus (16.189). She transforms him back into Odysseus the hero, and Telemachus is “wonderstruck” and believes some god has entered the house of the Swineherd (16.194). Odysseus tells Telemachus he is his father (16.212) and, after some disbelief, the father and son embrace and weep together (16.243). The two then discuss the slaughter of the suitors and form a plan in which Odysseus, disguised again as a beggar, will go into his own home with the suitors until Athena tells him the time is right (16.298). Meanwhile, the suitors are told that Telemachus escaped their ambush and is back in Ithaca (16.382). Antinous, one of the suitors, calls for the murder of Telemachus (16.401), and Penelope overhears the plot and chastises Antinous (16.453). The book ends with the Swineherd returning home and feasting with Telemachus and Odysseus—who is once again disguised as a beggar by Athena (16.505). 84. What do we see in the reunion of Odysseus and Telemachus?It seems fitting that Odysseus, who has been testing everyone, would in turn be tested by his son upon his grand reveal (16.220). Notably, the concern that a spirit or god would attempt to trick Telemachus with an imposter Odysseus (16.220) is a concern that Penelope shares and will later voice—but it is only the latter who has devised a test to avoid that fate. Telemachus seems to eventually simply trust Odysseus' testimony (16.243). Telemachus still appears unexperienced with the gods, as he confuses his father for one (16.202) and doubts Athena's plan (16.273). It is hard not to read Odysseus' response about whether Athena and Zeus will be adequate as sarcasm (16.291). Telemachus, however, has grown into his own wit as shown by his retort: “off in the clouds they sit” (16.299). He has also grown in confidence of his own strategic thinking (16.342).Odysseus shares with Telemachus he'll return to his home in disguise and bear whatever he must until Athena says it is time (16.303). The strategy behind Odysseus' return seems patterned off the Agamemnon narrative, but the problem itself seems patterned off his episode with the cyclops. He will come home to find guests of malintent within his home and then consume them.The YEAR WITH HOMER continues!

Get ready for another hilarious deep dive into Homer's epic poem, The Iliad, as our hosts, Kevin and Spencer, tackle chapters 9 through 12. Join us for a side-splitting exploration of the Greek gods, mythical heroes, and epic battles. In this episode, we'll witness the epic duel between Agamemnon and Achilles, the hilarious antics of the gods, and the tragic fate of Patroclus. From Zeus's meddling to Aphrodite's meddling, there's plenty of comedic gold to be mined in these chapters. So, grab your favorite beverage and get ready for a hilarious journey through ancient Greece. Remember, it's not just a war, it's a comedy! We are proudly partnered with Barracks Baristas Coffee Company. Veteran owned and operated where every purchase goes to help Veterans. Use code: BATTLEBUDDIES10 to get 10% off your order. ⁠⁠⁠⁠https://www.barracksbaristas.com/⁠⁠⁠⁠ We are proudly partnered with Helion & Company book publishing. They specialize in military history books that we personally use to cover some of our upcoming episodes! Use code: BBPOD15 to get 15% off your oder. ⁠⁠⁠⁠https://www.helion.co.uk/?sid=8654d0500f430a6b04edf2766fca2264⁠⁠⁠⁠ We are proudly partnered with the veteran owned and operated Apex Grappling Academy Vacaville. Spencer personally goes to this gym and highly recommends this type of outlet for veterans or anyone who is searching for a new hobby. ⁠⁠⁠https://apexgrapplingvacaville.com/⁠⁠⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/thebattlebuddiespod/support

Liv reads speeches from Seneca's Thyestes and Agamemnon, translated by Frank Justus Miller. Ask your questions for the next Q&A episode here! This is not a standard narrative story episode, it's a reading of an ancient source, audiobook style. For regular episodes look for any that don't have "Liv Reads..." in the title! For a list of Roman/Latin names and who they were in the Greek, visit: mythsbaby.com/names 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.

Kevin is a young boy fascinated by history, particularly that of Ancient Greece. His parents ignore his activities, having become obsessed with buying the latest household gadgets. One night, as Kevin is sleeping, an armoured knight on a horse bursts out of his wardrobe. Kevin hides under the covers as the knight rides off into a forest where his bedroom wall was; when Kevin looks again, the room is back to normal and he finds one of his photos on the wall similar to the forest he saw. The next night he prepares a satchel with supplies and a Polaroid camera but is surprised when six dwarfs spill out of the wardrobe. Kevin quickly learns the group has stolen a map and is looking for an exit from his room before they are discovered. They find that the bedroom wall leads to a portal. Kevin is hesitant to join until the apparition of a floating, menacing head—the Supreme Being—appears behind them, demanding the return of the map. Kevin and the dwarves find an empty void at the end of the hallway. They land in Italy during the Battle of Castiglione. As they recover, Kevin learns that Randall is the lead dwarf of the group, which also includes Fidgit, Strutter, Og, Wally, and Vermin. They were once employed by the Supreme Being to repair holes in the spacetime fabric, but realised the potential to use the map that identifies these holes to steal riches and escape via time/space travel. With Kevin's help, they visit several locations in spacetime and meet figures such as Napoleon Bonaparte and Robin Hood. Kevin uses his camera to document their visits. However, they are unaware that their activities are being monitored by Evil, a malevolent being who is able to manipulate reality and is attempting to acquire the map. Kevin becomes separated from the group and ends up in Mycenaean Greece, meeting King Agamemnon. After Kevin inadvertently helps Agamemnon kill a Minotaur,[4] the king adopts him. Randall and the others soon locate Kevin and abduct him, much to his resentment, and escape through another hole, arriving on the RMS Titanic. After it sinks, they tread water while arguing with each other. Evil manipulates the group and transports them to his realm, the Time of Legends. After surviving encounters with ogres and a giant, Kevin and the dwarfs locate the Fortress of Ultimate Darkness and are led to believe that "The Most Fabulous Object in the World" awaits them, luring them into Evil's trap. Evil takes the map and locks the group in a cage over a bottomless pit. While looking through the Polaroids he took, Kevin finds one that includes the map, and the group realises that there is a hole near them. They escape from the cage and Kevin distracts their pursuers while the others go through the hole. Evil confronts Kevin and takes the map from him. The dwarfs return with various warriors and fighting machines from across time, but Evil effortlessly and comically defeats them all. As Kevin and the dwarfs cower, Evil prepares to unleash his ultimate power. Suddenly, he is engulfed in flames and burned into charcoal; from the smoke, a besuited elderly man emerges, revealed as the Supreme Being. He reveals that he allowed the dwarfs to borrow his map and the whole adventure had been a test. He orders the dwarfs to collect the pieces of concentrated Evil, warning that they can be deadly if not contained. After recovering the map he allows the dwarfs to rejoin him in his creation duties. The Supreme Being disappears with the dwarfs, leaving Kevin behind as a missed piece of Evil begins to smoulder. Kevin awakes in his bedroom to find it filled with smoke. Firefighters break down the door and rescue him as they put out a fire in his house. One of the firemen finds that his parents' new toaster oven caused the fire. As Kevin recovers, he finds one of the firemen resembles Agamemnon and discovers that he still has the photos from his adventure. Kevin's parents discover a smouldering rock in the toaster oven. Recognising it as a piece of Evil, Kevin warns them not to touch it, but they ignore him, do so and explode, leaving only their shoes. As the Agamemnon-firefighter winks at the boy before leaving, Kevin approaches the smoking shoes and is seen from above as his figure grows smaller, revealing the planet and then outer space, before being rolled up in the map by the Supreme Being.

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.

”Vreden, gudinna, besjung, som brann hos peliden Akilles / olycksdiger, till tusende kval för akajernas söner.” Så lyder den första meningen i Iliaden, Homeros krigsepos från 700-talet f.Kr., och så inleds den västerländska litteraturens långa historia. Det är ingen fridsam och uppbygglig läsning. Krigaren Akilles är rasande över att hans chef, kung Agamemnon av Mykene, har berövat honom en slavinna. Alltså ber han sin gudomliga mor om hjälp, och hon utverkar hämnd från högre makter. Inbördesgrälet mellan grekerna gör att deras fiender, de belägrade trojanerna, kan gå till motanfall, med så många dödsfall att grekerna måste lära sig att samarbeta igen.I detta avsnitt av podden Harrisons dramatiska historia samtalar Dick Harrison, professor i historia vid Lunds universitet, med Katarina Harrison Lindbergh, historiker och författare, om människans äldsta kända krig, med fokus på de mytomspunna striderna vid Troja.Historierna om Akilles vrede och det trojanska kriget har varit kända och återberättade i årtusenden, och för många europeiska skolpojkar har Iliaden och dess fortsättning Odysséen varit obligatorisk läsning. Men hur mycket av det Homeros skaldade om har verkligen inträffat? Troja har numera, på goda grunder, identifierats med en ruinstad i västra Turkiet, och grekernas bronsåldersstäder har också blivit utgrävda, men kan vi vara säkra på att ett krig mellan de båda makterna utkämpades? Tack vare modern forskning, inte minst analyser av hettitiska skrifter, tror vi oss idag veta en hel del om verkligheten bakom de gamla sagorna.Bild: Akilles och Ajax spelar spel, c. 540–530 fvt, Vatican Museum Foto: Sailko, CC BY-SA 3.0 Klippning: Aron SchuurmanProducent: Urban Lindstedt Hosted on Acast. See acast.com/privacy for more information.

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

Dr. Frank Grabowski and Thomas Lackey return to discuss Book Eleven of the Odyssey with Dcn. Garlick. Check out thegreatbookspodcast.com for more resources.From the guide:60. What happens in book eleven?Odysseus and his men sail to the edge of the world into the endless darkness and the house of death (11.21). Following the ritual Circe prescribed, Odysseus fills a trench with blood, and the shades of the dead came out to meet him (11.40). Odysseus first speaks to Elpenor, his comrade who fell off the roof of Circe's house and lays unburied back on Circe's island (11.57). Odysseus then sees his mother, who he did not know was dead, but first speaks to Tiresias, “the famous Theban prophet” (11.100). Tiresias warns Odysseus he will come upon the cattle of the sun god, Helios, and he is not to harm them (11.123). Moreover, if Odysseus does make it home to Ithaca, he will have to leave his home again and go on a penitential journey to appease Poseidon (11.139). Odysseus then speaks to his mother about what is happening in Ithaca (11.173). He then sees “a grand array of women,” famous women from antiquity, sent by Persephone, the queen of the underworld, to drink the blood and speak with him (11.258). Odysseus then speaks to Agamemnon (11.457); and then to Achilles (11.530); and then he tries to speak with Ajax, but Ajax refuses, “blazing with anger” at Odysseus (11.620). Odysseus then sees several figures from mythology and speaks to the hero Heracles (or Hercules) who compares his exploits to that of Odysseus (11.690). The book ends with the shades of the dead overwhelming Odysseus, and he and is men running back to the ship in terror (11.723). 61. What is notable about Odysseus' discussion with Elpenor?After Odysseus fills his trench with blood, the shades of the dead come out of Erebus—the “darkness” (11.41).[1] The first to speak to Odysseus is Elpenor, his comrade who died on Circe's island (11.57). Notably, Elpenor does not have to drink the blood to speak to Odysseus (11.66). Though some interpret this scene as Odysseus not knowing that Elpenor had died, it seems clear that Odysseus and his men intentionally left Elpenor unburied (11.60); thus, Homer offers the juxtaposition of Odysseus hurrying to the house of the dead for his own sake while neglecting the rites of a dead comrade. Elpenor's plight is reminiscent of Patroclus' in the Iliad, where it seems he needs the rituals to find rest in the afterlife; moreover, it may be that Elpenor's state of having a body unburied and his capacity to speak without drinking the blood are connected. Lastly, it should be noted he asks for his oar to be planted atop his tomb (11.86).[1] Erebus (darkness) was one of the four original primordial deities to come forth from Chaos. The others were Gaia (Earth), Eros (Love), and Nyx (Night). See Companion, 139.

It's time to finally release our series of Greek Plays for free! These were on patreon a year ago. We begin with some comedies by Aristophanes. Join Dean & Alex as we review another tragedy: AgamemnonFor the latest episodes go to patreon.com/booksboys Hosted on Acast. See acast.com/privacy for more information.

Mycènes, capitale légendaire d'Agamemnon où fut organisée la conquête de Troie, est un site archéologique majeur de la Grèce. Des ruines plus qu'imposantes évoquent une grandeur passée. On peut y voir par exemple, la citadelle qui se trouve en haut dʹune colline dans un paysage de toute beauté. Histoire de cette cité avec Julien Beck archéologue, chargé de cours à l'Université de Genève Sujets traités : Mycènes, Agamemnon, Grèce, citadelle, Troie, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

This week Dcn. Harrison Garlick and Mr. Eli Stone, formerly of the TU Great Books Honors College and now teaching at a classical school, discuss Book VIII of the Odyssey: A Day for Songs and Contests. We have a 50+ page guide to the Odyssey.Visit thegreatbookspodcast.com for more resources. From the guide:42. What happens in book eight?King Alcinous and Odysseus go to the meeting grounds, as Athena whips up the curiosity of the islanders to come and see the stranger who “looks like a deathless god” (8.16). King Alcinous, still not knowing the identity of his guest, calls for the Phaeacians to prepare a ship to take the stranger home (8.39), and he calls for a feast, a “hero's welcome” (8.49). As they feast, the bard sings the ballad of “The Strife between Odysseus and Achilles,” a tale from Troy, and Odysseus quietly weeps—unnoticed by all save King Alcinous (8.111). King Alcinous then calls for games, and the young men gather to race, wrestle, box, and throw a discus (8.140). A man named “Broadsea” goads Odysseus into competing, and Odysseus, in his anger, throws a heavy discus farther than any of them (8.116). As a good host, King Alcinous deescalates the situation (8.267), and calls for the Phaeacians to dance (8.284).The bard returns and sings of the story of Aphrodite's adultery against Hephaestus (8.301). King Alcinous calls for parting gifts for Odysseus, and Broadsea gives the King of Ithaca a bronze sword in amends for his disrespect (8.441). Another feast is held, and Odysseus asks the bard to sing of the wooden horse at Troy (8.552). Odysseus again weeps quietly (8.586), and King Alcinous again notices (8.599). The book ends with the King finally asking Odysseus to reveal his name and his homeland (8.618).[1] 43. Why does Homer include the myth of Aphrodite's adultery?Homer dedicates over one hundred lines of poetry to tell the story of “The Love of Ares and Aphrodite Crowned with Flowers” (8.301). First, one may note a shift in the mythology, as Hephaestus was married to a Grace in the Iliad and is now married to Aphrodite in the Odyssey. A myth about adultery in the Odyssey recalls several narratives: the story of Clytemnestra, (Agamemnon's wife), the narrative of Odysseus with Calypso, and the suitors pursuing Penelope.In a subtle manner, Homer is likely presenting Hephaestus as Odysseus. Notice that that Odysseus mentions his legs are in poor shape, and he cannot race against the Phaeacians (8.260). Odysseus' poor legs are analogous to the crippled legs of Hephaestus; moreover, Hephaestus is compared to Ares who has “racer's legs,” like the Phaeacians (8.352). Homer describes Hephaestus overcoming Ares as the “slow outstrips the swift” (8.372) and “the cripple wins by craft” (8.375). If one takes Aphrodite to be Penelope, the myth is a warning to Odysseus that he will overcome the suitors not by swiftness but by craft. Similarly, one could read Aphrodite as Nausicaa and Ares as the Phaeacians; thus, we return to a narrative of Nausicaa being a temptation for Odysseus—but a temptation he could indulge if done by wit and craft. The myth presents certain analogues to Odysseus' present situation but seems to fall short of presenting a full allegory.[1] Thank you to Mr. Eli Stone who joined us on the podcast to discuss Book 8.

And we're off to the races! The Iliad begins in earnest this week with the outbreak of the feud between Achilles and Agammemnon (#TeamAchilles). The drama that unfolds contains almost the entirety of all that was to come in Greek culture, from the terror of hubris to the magnificent achievement of city-states in coalition. Plus: stick around to the end for a bunch of very cool announcements. Trump the Sandworm: https://x.com/Babygravy9/status/1823830496872136776 Sign up to Audit my Class: ncf.edu/youngheretics Foundations of the West:Athens and the Logos Greek Myth Comix: https://greekmythcomix.com/comic/deaths-in-the-iliad-a-classics-infographic/ Check out our sponsor, the Ancient Language Institute (now offering Old English instruction!): https://ancientlanguage.com/youngheretics/ Pre-order my new book, Light of the Mind, Light of the World: https://a.co/d/2QccOfM Subscribe to my new joint Substack with Andrew Klavan (no relation): https://thenewjerusalem.substack.com

This week Adam Minihan returns to discuss Book Four of the Odyssey with Father Bonaventure, OP - a Dominican Friar of the Province of St. Joseph. The out our website for a 50+ page guide to the Odyssey.23. What happens in book four?Telemachus arrives in Sparta to find King Menelaus hosting a “double-wedding feast;” as Menelaus' daughter is marrying the son of Achilles, and Menelaus' son is marrying a girl from Sparta (4.04). Telemachus and Nestor's son, Pisistratus, are received warmly (4.68). Though a gracious host, Menelaus still mourns for his brother, Agamemnon (4.103), and for all the men lost in the Trojan war, especially Odysseus (4.120). Menelaus and Helen recognize Telemachus by his likeness to his father (4.131, 158).The next day, Menelaus tells Telemachus of his journey home from Troy (4.391). He and his men were stuck on the island of Pharos (4.396). After wrestling Proteus, the Old Man of the Sea, he is told he failed to offer sacrifices to the deathless gods before leaving Troy (4.530); and now for penance, he must return to Egypt and make a “splendid sacrifice” (4.535). Menelaus asks about the fate of his comrades, and Proteus tells him the stories of little Ajax, Agamemnon, and Odysseus—the last of which is held captive by the sea nymph Calypso (4.627). Menelaus did as the Old Man of the Sea said, and he then returned home to Sparta (4.657). The narrative shifts to Queen Penelope in Ithaca (4.703). The suitors, led by Antinous, discover Telemachus has taken a ship to Pylos (4.711), and they elect to send out their own ship to ambush him (4.753). Penelope is told Telemachus is gone and that the suitors plan to murder him (4.784). Eurycleia, the old nurse, tells Penelope she helped Telemachus prepare for his departure, and advises the queen to pray to Athena (4.836). Penelope prays to Athena, and Athena sends a phantom of Penelope's sister to reassure the queen Telemachus is safe (4.930). The book ends with the suitors setting sail to ambush Telemachus (4.947). 24. What do we observe about the character of Menelaus?Notice that Menelaus agrees to welcome Telemachus and Pisistratus by first recalling all the hospitality he received on his journey home (4.38). He displays a certain gratitude and dare we say humility in passing on what he has received. A similar disposition is found in his piety of not wanting to be compared to Zeus (4.87). The pious but somber Menelaus declares: “So I rule all this wealth with no great joy,” as he recalls the death of his brother, Agamemnon (4.103). Moreover, he seems to lament the entire Trojan war, stating he would have rather stayed home with the wealth he had and the friends he lost at Troy—note, however, the implications of this statement regarding his wife, Helen (4.108).Check out the rest of the guide at thegreatbookspodcast.com.

Ancient history has traditionally been dominated by the lives of great men, while ancient women are confined to the margins or omitted altogether. In The Missing Thread, award-winning classicist Dr Daisy Dunn pulls these women out of the shadows and puts them center stage, where they belong. This week, we talk about the lives of ancient women: love, marriage, extra-marital relationships, divorce, sex, contraception, same-sex relationships, and even dildos made of bread?! We also talk about women leading armies, ruling nations, and the very first woman to win at the Olympics, long before women were even allowed to compete. Daisy's book is The Missing Thread: A Women's History of the Ancient World, and it's out in the US on July 30th from Viking. [Listen notes for further reading: the women mentioned include poet Sappho, Messalina, the goddess Ishtar, Clytemnestra (wife of Agamemnon), Cornelia (wife of Tiberius Gracchus), orator Aspasia, Olympic victor Cynisca, Tomyris, Pharaoh Hatshepsut, and Artemisia of Halicarnassus] Daisy can be found at daisydunn.co.uk.

Dcn. Harrison Garlick, Dr. Frank Grabowski, and Mr. Thomas Lackey discuss Book Three of the Odyssey: KING NESTOR REMEMBERS. The lovable old man from the Iliad returns to help set Telemachus on his way. More on Telemachus' coming of age storyWhat power comes to rest on Telemachus?How did Great Ajax die?! (ignobly...)What caused the Achaeans to suffer the wrath of Athena?Check out Dcn. Garlick's 50+ page guide to the Odyssey.What happens in book three?Telemachus arrives in Pylos to find King Nestor sacrificing eighty-one bulls to Poseidon and hosting a feast for forty-five hundred people (3.06). Athena, under the guise of Mentor, encourages Telemachus to speak to Nestor (3.16). Telemachus and Athena are welcomed warmly by Nestor's son (3.40), and, after their meal, Nestor asks them who they are (3.77). Telemachus asks Nestor for news of his father, Odysseus (3.91), and Nestor recalls the “living hell” of Troy (3.113). Nestor tells Telemachus of the disaster that was the Achaean army returning home from Troy (3.147). Telemachus tells Nestor of the plight of the suitors (3.228), and Nestor tells Telemachus of Athena's favor for his father, Odysseus—as Athena sits there in the guise of Mentor (3.247). Telemachus asks Nestor to tell the story of how Agamemnon died (3.282), and Nestor tells of how Agamemnon was betrayed by his wife and murdered (3.345).As the conversation turned to returning to Nestor's halls, Athena, disguised as Mentor, transformed into an eagle and flew away (3.415). Nestor explains to Telemachus what favor he must have with the goddess (3.420) and prepares a splendid sacrifice to Athena in her honor (3.429). He has the heifer's horns sheathed in gold (3.488), and Athena returns pleased with this sacrifice (3.485). The book ends with them obeying Athena's orders by preparing a chariot to take Telemachus to Menelaus in Sparta (3.335).Join us as we read the Odyssey in this YEAR OF HOMER.

We had a great conversation with Actress Charlotte Kirk on The Chris & Sandy Show. We talked about several of her upcoming movies, her life plus a whole lot more!Award winning Actress, Writer, and Producer, Charlotte Kirk co-wrote, produced and stars in the British gangster movie Duchess directed and co-written by Neil Marshall (The Descent, The Lair, The Reckoning, Dog Soldiers) being released by Saban Films on August 9th and portrays Nicole Brown Simpson in writer/director Joshua Newton's true crime drama The Juice to be released in 2025. As part of the Scarlett Productions slate, Charlotte co-wrote, produced and stars in the British gangster movie Duchess and follows Charlotte Kirks character Scarlett Monaghan's rise from a working class criminal to a ruthless crime leader. This is to be released in 2024 directed by Neil Marshall. The film also starred Colm Meaney, Stephanie Beacham, Phillip Winchester and Sean Pertwee. Charlotte is an award-winning actress having won 13 awards and received 12 nominations. She enjoys singing and performed the end title track for No Panic with a Hint of Hysteria. Charlotte also just completed starring in the erotic thriller movie Compulsion opposite Anna Maria Sieklucka to be released in 2025 and just completed shooting an indie thriller opposite Jesse Metcalfe and and an action film starring Dolph Lundgren.In early 2015, Charlotte landed a starring role in Vice, (Lionsgate 2016) a sci-fi thriller, opposite Bruce Willis and Thomas Jane. In 2018 Charlotte co-wrote, produced & starred in Award winning movie The Reckoning directed Neil Marshall. The movie was shot in the summer of 2019 in Budapest, Hungary and released theatrically around the world throughout 2020. It was #2 in theatre's and on iTunes during its opening week. Charlotte won multiple awards for her intense dramatic performance in the film. In 2020, Charlotte completed the action horror hit movie The Lair, also co-written, produced & starred in and directed by Neil Marshall, and was released in 2022. The Lair had its world premiere in Leicester Square IMAX as the opening night gala presentation at 2022's FrightFest film festival.Charlotte returned the UK in 2021 to focus on creating her own projects. Charlotte formed Scarlett Productions and Primal Empire studios Ltd. and has several feature film projects currently in development and production.Charlotte has completed seven feature films since, including the female lead opposite Stephen Baldwin in film-noir comedy No Panic with a Hint of Hysteria'(Dir. Tomasz Szafranski), the female lead in psychological drama The Depths (award winner at 7 film festivals), alongside appearances in How To Be Single (Warner Bros 2017) and Ocean's 8 (Dir. Gary Ross, Warner Bros. 2018) opposite Sandra Bullock.Charlotte took her first steps in theatre (aged nine) she performed in Greek tragedies Agamemnon and Arturo Ui, following hot on the heels with West End musical theatre productions of A Christmas Carol, Oliver Twist and Hairspray having attended the prestigious Italia Conti School of Acting in London, her skills were further refined training with Jigsaw Performing Arts in the UK and renowned method acting coaches Susan Batson and Lee Strasberg in New York City. Having grown up in South East London, Charlotte moved to the US in her early 20's to pursue her career; first to New York, then to Los Angeles where she spent the next 10 years.She currently resides between London and Los Angeles.

WE ARE STARTING THE ODYSSEY! Dcn. Harrison Garlick is joined by Dr. Frank Grabowski and Mr. Thomas Lackey to discuss Book One of the Odyssey. Check out our website - thegreatbookspodcast.com - for a written guide to the Odyssey and other resources. Questions discussed:What happens in book one?What should be observed about the invocation to the Muses?What should be made of Zeus' comment on fate?What happened to Agamemnon?What should be made of Telemachus?What major themes and narratives help unfold the story of the Odyssey?Join us as we continue in our YEAR OF HOMER.

Dcn. Harrison Garlick and Adam Minihan discuss the FINAL book of the Iliad: Book 24 - Achilles and Priam. Check out our 65-page guide to the Iliad!I have put to my lips the hands of the man who killed my son. Priam to Achilles (24.591) 103. What happens in book twenty-four?The funeral games have ended, and Achilles, who still mourns for Patroclus, drags Hector's body behind his chariot around Patroclus' tomb (24.19). Twelve days after the death of Hector, Apollo pleads with the gods to save the body of the Trojan prince (24.39). In response, Zeus declares that “Achilles must receive a ransom from King Priam, Achilles must give Hector's body back” (24.94). Zeus tells Thetis his plan, and Thetis informs her son (24.127). Zeus sends Iris to Troy to tell King Priam, who she finds smeared in dung and mourning his son, that the Father of gods and men commands him to ransom his son from Achilles (24.204). Priam, despite the protests of his wife (24.238), obeys the goddess and prepares to leave (24.259). Priam leaves Troy on his chariot alongside a wagon of treasure (24.382). On the plains of Troy, Priam is met by Hermes, under the guise of a Myrmidon, who guides him into the Achaean camp (24.526). Hermes reveals himself to Priam and tells the king of Troy to go into Achilles' tent and hug his knees (24.546).Priam does as he is told, and, hugging the knees of Achilles, kisses “his hands, those terrible man-killing hands that slaughtered Priam's many sons in battle” (24.562). Priam exhorts Achilles to remember his own father, Peleus, and Achilles thinks of his father and weeps with Priam (24.595). Priam asks for the body of Hector (24.650), and though Achilles warns Priam not to tempt his rage (24.667), Achilles has the body of Hector washed and carries it to the wagon himself (24.691). Achilles promises King Priam that the Achaeans will wait twelve days before restarting the war to allow Troy to bury Prince Hector (24.787). Priam sleeps on the porch outside the lodge of Achilles, and Hermes wakes him up to send him home before Agamemnon finds him (24.808). Priam returns home to Troy, and Troy is “plunged… into uncontrollable grief” (24.831). For nine days, the Trojans “hauled in boundless stores of timber” for the funeral pyre of Hector (24.921). On the tenth day, they set the body of Hector “aloft the pyre's crest, [and] flung a torch and set it all aflame” (24.924). The next day, the Trojans bury Hector's bones in a golden chest and end the rites with a “splendid funeral feast” (24.942). And thus, Homer ends the Iliad with the burial of “Hector breaker of horses” (24.944). 104. What is the backstory of why Hera and Athena hate Troy?In the final book of the Iliad, Homer makes reference to the narratives that led to the Trojan war. Hera states that she “brought up” Thetis and gave her in marriage to a mortal, King Peleus (24.72). The story goes that Zeus loved Thetis, but the Titan Prometheus told him that Thetis was destined to bear a son greater than his father.[1] As such, Zeus gave Thetis to Peleus, a mortal, so the son would also be mortal.[2] Homer's reference of Hera's role in the Iliad implies she had some part in this scheme as well. Peleus had to wrestle the immortal sea nymph, Thetis, as she changed shapes to win her heart.[3] He was successful, and the gods...

In 1870 the German archaeologist Heinrich Schliemann - a man of remarkable energy, desperately fascinated with Helen of Troy - discovered in Turkey the burnt remains of what he claimed to be the legendary city of Troy, and with it, a horde of gold and treasure which he attributed to Helen. Following this breakthrough, he went in search of another, more obscure prize: Mycenae, one of the most powerful city-states in ancient Greece, and the dominion of Agamemnon, husband of Helen's sister, Clytemnestra. A man whose family was dogged by incest, dark curses, vengeance and cannibalism, Agamemnon mercilessly sacrificed his daughter on the eve of the Trojan Wars. But this would unleash a terrible vengeance from Clytemnestra, and set in motion one of the great stories of Greek tragedy… Join Tom and Dominic as they unveil the life of Clytemnestra, one of the most potent and blood-soaked women in Greek mythology, and tell the story of an amateur archaeologist's hunt for her and Helen. EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/restishistory Try it risk-free now with a 30-day money-back guarantee! *The Rest Is History LIVE in 2024* Tom and Dominic are back onstage this summer, at Hampton Court Palace in London! Buy your tickets here: therestishistory.com Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dcn. Harrison Garlick and Adam Minihan discuss Book 23 of the Iliad: The Funeral Games. Check out this section of our guide to the Iliad!Sleeping, Achilles? You've forgotten me, my friend. You never neglected me in life, only now in death. Bury me, quickly—let me pass the Gates of Hades. Patroclus (23.81) 100. What happened in book twenty-three?Now back at the Achaean camp, Achilles leads his Myrmidons in mourning around the body of Patroclus (23.13). That night, as Achilles lay by the shoreline, the ghost of Patroclus appears to him (23.76). Patroclus states: “Sleeping Achilles? You've forgotten me, my friend… bury me, quickly—let me pass the gates of Hades” (23.81). For as Patroclus further explains, he is not permitted to cross the river Styx until he has received his funeral rites (23.86).[1] Finally, Patroclus requests that his bones and the bones of Achilles be placed in a single urn and buried together (23.100). The next morning, Achilles has a pyre built for Patroclus (23.188). Achilles slaughters sheep, cattle, stallions, and two of Patroclus' dogs and places them all on the pyre with Patroclus (23.190). He then slaughters a dozen young Trojans, as sacrifices to lay alongside Patroclus on his pyre (23.200). The pyre is lit and, after praying to two of the gods of the winds, it burns well (23.221). Meanwhile, Homer tells us that Apollo and Aphrodite are protecting the body of Hector from harm and decay (23.212).Achilles tends to the pyre all night until “sleep overwhelms him” (23.265). Achilles awakes and tells the Achaeans to gather the bones of Patroclus and place them into a golden urn; then, the urn will be placed in a small barrow until Achilles dies, then a large barrow will be built for the two of them (23.281). Achilles then announces there will be “funeral games” (23.298), which will consist of a chariot race, boxing, wrestling, a footrace, a duel in battle gear, shot put, archery, and spear throwing. The culture of competition demonstrated in these funeral games would eventually give rise to the Olympics.[2] 101. Who won the funeral games?The winners of the chariot race were in order: Diomedes, Antilochus, Menelaus, Meriones, and Eumelus (23.572). Eumelus received a consolation prize from Achilles (23.621). Menelaus accuses Antilochus of a foul, Antilochus concedes to him; yet Menelaus' anger relents, and the Spartan king gives the second prize, the mare, back to Antilochus (23.680). Achilles gives the original fifth place prize to Nestor as a reminder of Patroclus (23.689). Epeus defeats Euryalus in a boxing match (23.769). Giant Ajax and Odysseus wrestle to a stalemate (23.818). Odysseus, with the help of Athena, wins the footrace (23.864). In the duel in battle gear, Giant Ajax goes against Diomedes, but the friends of Giant Ajax call for it to stop (23.913). Achilles then awards a sword to Diomedes as the winner (23.915). In shot put, Polypoetes takes the prize (23.939). Meriones, with the blessing of Apollo, defeats Teucer in archery (23.977). Lastly, Agamemnon wins the spear throwing contest by default due to his station as the high king (23.989). 102. What else should we observe in book twenty-three? The apparition of Patroclus reveals the religious understanding that a body denied its funeral rites...

What if 'Troy' was recast in 1997?Strap in as Cory, Nick and Ash give us an epic of an episode, reimagining the 2004 Wolfgang Petersen epic, during an era when action icons were handing over the reins to fresh faces. We don't just speculate; we create an entire alternate universe where 'Troy' dominates the silver screen alongside that year's blockbusters. It's a rollercoaster of laughter, hypothetical casting debates, and a touch of cinematic wanderlust.Join us as we dissect Brad Pitt's portrayal of Achilles in the original 'Troy', scrutinizing his character arc with the glee of history buffs at a renaissance fair. Our discussion meanders through the intricate web of Greek mythology, silver screen adaptations, and the broader scope of Pitt's film choices. From critiquing the film's storytelling, we peel back the layers of this iconic film and contemplate the effects of a late 90s version.Wrapping up this auditory odyssey, our casting caldron bubbles over with the ideal blend of star power and thespian skill for our dream cast of 'Troy'. We pitch actors against each other for the prized roles of gods and warriors, balancing charisma against muscle and finesse. Tune in to find out who we cast!(00:00:59) Intro(00:06:00) About the Movie(00:11:57) Useless Critic Stats(00:21:23) Why We Chose This Film(00:29:48) 1997 Box Office(00:33:12) Oscars(00:34:32) Other Notable Films(00:42:36) Rules(00:44:47) 30 Seconds or Less Casting(00:54:58) Briseis(01:05:00) Paris(01:14:42) Agamemnon(01:21:42) Helen(01:29:32) Hector(01:41:55) Achilles(01:56:18) Final CastThanks for listening; If you feel like supporting us, this is where you do that!BuyMeACoffee Check out or other content/socials here. LinktreeHosts:Cory Williams (@thelionfire)Nick Growall (@nickgrowall)Co-Hosts (Season 5):Aly Dale (@alydale55)Ash Hurry (@filmexplorationah)Cass Elliott (@take5cass) Voice of the Time Machine:Kristi Rothrock (@letzshake)Editing by:Nick GrowallFeatured Music:"Quantum Recast Theme" - Cory Williams"Charmer" - Coat"Revival" - Daniele Musto"Pukka" - Bellodrone"Kings and Queens" - Wicked Cinema"Kiss the Cat" - Al Town"Birdcage" - Al Town"Passenger" - Abloom*Music and licenses through Soundstripe

And. We. Are. Back! Jam Mechanics returns for season 2 with our first guest prompter (Our longtime collaborator and artist, DeepBlueInk!). In our first episode back we reveal the fate of Jam Mechanics Mansion (Castle?) and reflect on the ocean that separates our two co-hosts Jam Mechanics is a podcast hosted by Matt (The Narcissist Cookbook) and Bug (Bug Hunter) where we are challenged to write a song demo from scratch every episode. If you'd like downloadable files for this episode (and the demos we showed off), ⁠⁠⁠⁠⁠⁠⁠you can go to our Bandcamp⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠ to pay-what-you-want to support us! Our Music: ⁠⁠⁠⁠⁠⁠⁠The Narcissist Cookbook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠Bug Hunter⁠⁠⁠⁠⁠⁠⁠ ⁠⁠and our brand-new discord is here⁠⁠ and follow us on Instagram, YouTube, etc! Please share the show (and our music) with friends! -- SPOILERS FOR THIS EPISODE BELOW -- ----------------- Challenge: Transatlanticism ----------------- BUG'S SONG Title: Agamemnon Lyrics: I am aboard the Agamemnon, we are laying down a line It's gonna cross the ocean floor, the greatest project of our time A telegraph from Newfoundland will reach the Irish Shores but by by the time this note arrives you will not love me anymore I am aboard the Agamemnon, laying cables in the sea For the purpose of the president to parley with the queen As for me, I've got this letter that I'll send you in the morn but by the time this note arrives you will not love me anymore You will not love me by the time you read this note You told me you would wait if I had to go I keep your photo in a locket to remind me of my home but while aboard the Agamemnon I have so much time to dream of a world where I can reach you with no middle-man between And maybe when we're done I'll get my turn, as a reward but I never got that chance, now you don't love me anymore When I made it to Niagara, you didn't love me anymore You will not love me by the time you read this note You told me you would wait if I had to go I think of you so often with no way to let you know This is only the beginning, this simple cable in the sea Soon we'll have radios and satellites and waves we cannot see No one'll know the pain of loving one they cannot reach I'd commandeer the Agamemnon and I'd sail it back to shore it's just a faster way to learn that you don't love me anymore so I'll keep laying this cable for the lovers not yet born so that they may never hear "No, I don't love you anymore" ---------- MATT'S SONG Title: The Tollbooth Lyrics: When Britain's national health service was launched in 1948 it set sail in the wake of the second world war when the country's citizens the upper and lower classes both the rich and the desperately poor had served together, side by side and the ones who survived the horrors came home demanding to no surprise more we did not fight, they said in our millions just for things to return to the way they were we didn't die they said in our hundreds of thousands just to save a country where the leading cause of death is poverty and perhaps for the first time in british history the aristocrats and the working class agreed on something largely that arming the nation and teaching them how to fight and die for what they believe in makes their demands somewhat more convincing and so barely three years after the soldiers had come home on july 5th, 1948 the british health system was torn out by the follicles and rebuilt in a new vision that it would be free at point of service, that no one, NO ONE, would be turned away or trapped into debt by lack of personal means that it would be available to everyone who walked through the doors of a hospital or a GP's office and that the well off wouldn't be able to skip the queue this was radical beyond comprehension a truly universal healthcare system doctors across the nation barred their doors and hired personal security ... [Out of room! For full lyrics, visit www.jammechanics.com] --- Send in a voice message: https://podcasters.spotify.com/pod/show/jammechanicspodcast/message

Continuing on with the Bronze Age history of Greece, a look at the famed Mycenaeans, the historical origins behind the mythic heroes of Homer. 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. Sources: The Landmark Thucydides edited by Robert B. Strassler, translated by Richard Crawley; The Oxford Handbook of the Bronze Age Aegean edited by Eric H. Cline; Rodney Castleden's Mycenaeans; Alkestis Papadimitriou and Elsi Spathari's Mycenae: A journey in the World of Agamemnon. 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.

For our latest show-within-a-show, we'll revisit Ancient Greece through Emily Wilson's new translation of Homer's The Iliad. We'll be reading it a few books at a time and having a more in-depth chat about it than we do about most books. These two episodes cover Books 5-9.Episode 3: These three books include: gods intervening directly on the battlefield, a new Greek hero emerging, the Trojan hero getting a boost from Ares, Hector's wife and son, and a duel with no resolution. It's action packed but also somewhat restful? (Books 5-7)Episode 4: A lot of folks in these two books remembering that Achilles exists. Zeus presides over more fighting, and it's going poorly for the Greeks. So poorly that Agamemnon tries to make good with Achilles but man that guy knows how to be mad, huh?? (Books 8-9)Find out more about how to get these episodes monthly at patreon.com/overduepod.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Oh Muses! We tell some tales you already know -- of Helen, Menelaus, Odysseus, and Agamemnon -- but with secrets revealed! We encounter Herodotus, beach wrestling, cloud women, another water entity that changes shape, and lots of confusion. --- You can listen to Greeking Out early and ad free on Wondery+! But wait, parents! The creators of THIS amazing podcast have written a New York Times bestselling tie-in book Greeking Out, featuring many tales you haven't heard. It's every bit as hilarious, harrowing, heartwarming, and Hellenistic as its namesake. Buy it here: https://bit.ly/greekoutbook