Podcasts about Diomedes

We finish the 8th Circle of hell! Dcn. Harrison Garlick and Dr. Donald Prudlo of the University of Tulsa discuss pits 8-10 of the 8th Circle of Dante's Inferno (Cantos 26-31). Dr. Prudlo is an incredibly talented Catholic scholar! You'll want to hear what he has to say - especially about Odysseus, Troy, and the Garden of Eden.Visit thegreatbookspodcast.com for more resources!From our guide:64. What happens in the eighth ditch (Cantos 26-27)?Overlooking the eighth ditch, the Pilgrim and Virgil view the punishment of those souls King Minos found guilty of deception or evil counsel.[1] The Pilgrim sees columns of flames, and Virgil explains, “there are souls concealed within these moving fires, each one swathed in his burning punishment.”[2] Dante the Pilgrim observes a “flame with its tip split in two,” to which Virgil explains the flame contains the souls of both Ulysses and Diomedes.[3] The contrapasso of the eighth bolgia is that these deceivers burn as tongues of flame just as their tongues in life brought forth pain and destruction.[4] Moving on, the Pilgrim and Virgil meet another soul, Guido da Montefeltro, “a soldier who became a friar in his old age; but he was untrue to his vows when, at the urging of Pope Boniface VIII, he counseled the use of fraud in the pope's campaign against the Colonna family. He was damned to hell because he failed to repent of his sins, trusting instead in the pope's fraudulent absolution.”[5] Virgil and the Pilgrim press on, where, coming to the ninth ditch, they see “those who, sowing discord, earned Hell's wages.”[6]65. Does fire have a special role in the Inferno?Given its name, most expect fire to be the normative punishment of the Inferno—but it is not. The question is whether the role fire does play has a special pedagogical purpose. Dr. Prudlo sets forth that fire, especially as seen here as “tongues of fire,” represents an “anti-Pentecostal sin.” Fire plays a role in the punishment of the blasphemers, sodomites, usurers, simonists, and false counselors. Fire, as Dr. Prudlo notes, is the “most noble element in Dante's world,” and it plays a certain “refined punishment” in the Inferno. It seems to signify a certain “unnatural abuse” within the sin, an “abuse of some special gift that God has given us.” The role of fire in the Inferno merits further consideration.66. Is there a special relation between Ulysses (Odysseus) and Dante?Dante the Poet arguably has a certain fondness for Ulysses. As Dr. Prudlo observes: “genius untethered to virtue is one of the most dangerous things that can possibly exist.” Dante the Poet and Ulysses are both geniuses. Yet, Ulysses cannot find rest upon returning to Ithaca—the question for knowledge calls him away from his wife, son, and kingdom to journey out into unknown Ocean. He sails passed the Pillars of Heracles, which mark the boundaries of mortal men, and, upon seeing Mount Purgatory, God strikes his ship and all lives are lost. Dr. Prudlo remarks that where Ulysses attempted to make it to Mount Purgatory despite God, Dante the Pilgrim will make it to Mount Purgatory with God....

It's party time in Olympus. Heracles, the hero is now a god and about to be adopted by Hera. Before the rebirthing ceremony begins, he and the Queen of the gods must make peace in spite of all their suffering and loss. *Sensitive listeners be aware - some of this episode is gruesome* Written by Doug Rand and Bibi Jacob. Directed by Bibi Jacob. Sound and production by Geoff Chong. Featuring:  Doug Rand as Heracles, Sandy Bernard as Hera, Kester Lovelace as Apollo, Chris Mack as Hermes, Dario Costa as Zeus, Hephaestus and the groom, David Stanley as Diomedes, and Bibi Jacob as Hebe. Recorded at the SACD studios in Paris.  The quote comes from Diodorus Siculus' Library of History, Book 4, in a translation by CH Oldfather. Aristotle refers to Heracles in Book 3 of his Politics. For our other sources, check out our website!

Juan Antonio Toro es el líder de Armenia, una banda cuya columna vertebral es el rock, pero que a lo largo de su corta, pero prolífica carrera, ha ido involucrando los sonidos que ha querido y en ello, crear un parche, esa unión entre músicos, que más que ser invitados en sus canciones, crean comunidad y justo, ese es el mensaje que transmite Toro y que se impregna cuando se tiene la oportunidad de charlar con él, nuestro invitado a esta edición de SLP.Hablamos de esos sonidos que se escuchaban en casa, como el bolero y el rock de su padre y por el otro el vallenato de su madre, de Carlos Vives y Diomedes, pero también del Live 8 que veía en su niñez, la razón por la cual dejó su carrera de estudios en música, sobre la influencia del grupo teatral El Águila Descalza y porqué Carlos Mario Aguirre, miembro del águila, es uno de sus referentes desde niño. También de su banda Armenia, pero también de su rol como productor, algunas reflexiones, puntos de vista y de la inteligencia artificial en la industria de la música.________Producido por Iván Zainea C.Música por Mario Andrés Salazar de Pluszeichen Records________Fotografía tomada de IG @camaratoro

Em nosso Episódio 259 estamos recebendo o Poeta Repentista , Declamador , Glosador Diomedes Mariano, um dos maiores Poetas do repente nordestino na atualidade, vamos conhecer sua história de vida com muita poesia de qualidade e muito mais !Inscreva-se no nosso Canal , deixe um Like.INSTAGRAM: https://encurta.ae/vPQJQTIK TOK: https://encurta.ae/r5py5KWAI: https://encurta.ae/Le3grFACEBOOK: https://encurta.ae/AR3LTSPOTIFY: https://encurta.ae/Yie2vCONTATO: https://encurta.ae/buDV7#podcast #nordeste #cultura

As the tenth year of the Trojan War continues, Diomedes starts cutting through the Trojans like a knife through butter. Aside from a possible cameo from a primary source author himself, Diomedes is about to show the world how cool he is- including taking on the God of War himself... Also, get ready for a cameo from the heiress presumptive who has been recording our jingles! Sources for this episode: Homer (1965), The Iliad. Translated by E. V. Rieu. Harmondsworth; Penguin Books Ltd. Author unknown, Wikipedia (date unknown), Dares Phrygius (online) (Accessed 09/12/2024). Inspiration for the drawing from the following: By Copy of Nausykles or Kresilas (?) - Jastrow (2007), Public Domain, https://commons.wikimedia.org/w/index.php?curid=2091049

Com a morte de Heitor, Aquiles e seus soldados prestam, emocionados, um tributo lúgubre e exótico a Pátroclo. Após um cortejo solene, armam uma grande pira onde queimam, além do corpo do amigo, uma série de oferendas que incluíam comidas, animais e, tenebrosamente, cadáveres de jovens troianos capturados pelos gregos. Neste episódio, que retrata o penúltimo canto da Ilíada, Aquiles, ainda em homenagem a Pátroclo, convoca todos a participarem de jogos, similares ao que posteriormente seriam as Olimpíadas, em que disputam figuras ilustres como Diomedes, Menelau, Antíloco e Ulisses. Material exclusivo: https://noitesgregas.com.br/area-do-apoiador/ Apoio ao podcast: https://noitesgregas.com.br/apoiar

Two passages from St. Nikodemos on how Orthodox Christians should approach smoking in general, and specifically smoking tobacco. St. Nikodemos writes, "But when they inhale and swallow the foul fumes of tobacco through their nose and mouth... how afterwards are they to be, in accord with their calling [i.e. Bishops and Priests, but indeed all Orthodox Christians], sweet perfume and the savor of life to those who approach them?" Reading from _Smoking and the Orthodox Christian_ by Constantine Cavarnos (quoting St. Nikodemos in the section read for this recording).

Hold your horse's listener, it's dinnertime! And Heracles is taking us out on a hot date to the Kingdom of Thrace. But wait- are we the appetiser? On the menu are Wicked Kings, Troubled Gods and Flesh-Eating Horses! Call ahead for a reservation to avoid disappointment!     A big thanks to ZapSplat for scuffles and tussles. A heavily reduced Mount Olympus summer ski-lift pass to Scott Buckley for his tracks The Summoning and Titan. All the veggie porridge Lord Fast Fingers can eat for the intro. Come get us on our Socials (Insta & Facebook) Pay the ferryman for us? No silly, not Charon, but Ko-Fi Please do rate and review and why not tell a friend (or even better, an enemy?)

You thought we had gone away! You thought we didn't care enough to post anything to do with N4 Infinity - How wrong you were! Diomedes and IGLPC: Casual winner Dustin AKA DaChickenKing are here to judge you! Judge your painting, that is! Sit back relax and follow along at https://www.infinitygloballeague.com/2024/09/17/igl-painting-competition-infinity-global-week-edition-results/

Un episodio esquivo, un tema que no quería dejar ser grabado. Y salió. Y pareció un reencuentro. Y fuimos felices.Obviamente, desde el mayor, profundo y amplio respeto para con los amantes o detractores de Diomedes. Esto es recochando.Prometemos:1- Seguir con este podcast muchos años,2- Retiranos inmediatamente y terminar este proyecto.Sin puntos intermedios.¿Cuál cree que va a pasar? Vote ud.

Dive into the gripping tale of the Diomedes and Balala hostage-taking incident. Explore the intricacies of this true crime story situated in the Philippines. We discuss justice, horror, and the real-life experiences of those involved. #bedtimestories #Philippinehorrorstory #justice #duet #crimestories #Pinoymysterychannel #OFWlife #storytime #Tagalogtruecrime #Philippinehorrorstory #truecrimestories Learn more about your ad choices. Visit podcastchoices.com/adchoices

Carnivorous horses! Speculation about Alexander the Great! A cameo from the jar! This episode has it all. Expect Heracles to have to clean up someone else's mess, as well as deal with a bunch of his groupies and an unexpected funeral... Sources for this episode: Frazer, J. G. (1921), Apollodorus: The Library (Volume I). London: William Heinemann. Guerber, H. A. (1929), The Myths of Greece & Rome: Their Stories Signification and Origin. London: George G. Harrap & Company Ltd. Oldfather, C. H. (1989), Diodorus of Sicily in Twelve Volumes. Volume I: Books I and II, 1-34. Cambridge, Massachusetts and London, UK: Harvard University Press.

En su séptimo trabajo, Hércules capturó al toro de Creta, que había sido enviado por Poseidón y estaba causando estragos en la región. En el octavo, fue enviado a Tracia para capturar las yeguas carnívoras de Diomedes, logrando calmarlas al alimentarlas con su dueño. En el noveno trabajo, Hércules obtuvo el cinturón mágico de Hipólita, reina de las Amazonas, tras enfrentarse a las guerreras debido a la intervención de Hera.

Today we're going to get in touch with our ancestry and entertain the presentations by Asha Logos in his series called Our Subverted History. This is a brief introduction to the Scythians and Pelasgians as well as look at the Diomedes and the Trojan War. We will check in with Herodotus as well and see how these Revisionist Historians have been erasing and discrediting the accounts of those who were there.AWESOME Hot Sauce: https://SemperFryLLC.com Use Code at site for 5% Off qualified purchases (over $22) I handcraft over 30 varieties of Award Winning Artisan, fresh, micro-batch hot sauces. Veteran Owned!Sponsor the show: https://www.paypal.com/paypalme/baalbustersand: https://buymeacoffee.com/BaalBustersGET COMMERCIAL FREE VIDEOS/PODCASTS and Exclusive Content: Become a Patron.  https://Patreon.com/DisguisetheLimitsMy Clean Source Creatine-HCL Use Coupon Code FANFAVORITE for 5% Offhttps://www.semperfryllc.com/store/p126/CreatineHCL.htmlSigned Copies of My Bookhttps://www.semperfryllc.com/store/p93/Priestcraft%3A_Beyond_Babylon_%28Signed_Copy%29.htmlAmazon version of Priestcraft: Beyond Babylon 8.5x11 Paperback, Hardcover, & Kindle: https://www.amazon.com/dp/B0CNGX53L7/Barnes & Noble: Priestcraft: Beyond Babylon 416 pages, and ebook: https://www.barnesandnoble.com/w/book/1144402176KOBO: https://www.kobo.com/us/en/ebook/priestcraft-beyond-babylonBrighteon Store DISCOUNT Link: https://brighteonstore.com/BaalBustersBecome a supporter of this podcast: https://www.spreaker.com/podcast/ba-al-busters-broadcast--5100262/support.

Liv reads the rest of Book 7 and part of 8 of the Fall of Troy, translated by AS Way. With the threat of Eurypylus on the side of Troy, Odysseus and Diomedes go in search of Achilles' son Neoptolemus. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! 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.

A Sermon for the Fifth Sunday after Trinity by Matthew Colvin As you know, our family lives in Port Alberni. When we first moved there, I met some guys on the tennis court, and when I told them I was new to town, their immediate question was, “Do you fish?” I said no. “Then what are you doing here?” — as though it were inexplicable why anyone would live in Port Alberni without catching fish. And sometimes, because the Barclay Sound is so pretty, and because I have enjoyed a cruise down the Alberni Inlet on the MV Frances Barclay, and because all my friends own boats, I say to my wife, “Maybe we could get one.” And then she reminds me that I hate doing maintenance on things, and that a boat is a hole in the water that you throw money into. But maybe the biggest objection, for me, comes from Psalm 107: “They that go down to the sea in ships, and occupy their business in great waters; These men see the works of the Lord, and his wonders in the deep. For at his word the stormy wind ariseth, which lifeth up the waves thereof. They are carried up to the heaven, and down again to the deep; their soul melteth away because of the trouble.” (107:23-26) That is why I am a landlubber from the fishing capital of Canada. Unlike St. Peter. We have already met Peter in chapter 4 of Luke, because Jesus has healed his mother in law from a fever. And we know, also, that Peter and Andrew his brother were looking for the coming of the Messiah. Jesus's preaching has been in synagogues in Nazareth and in Capernaum in chapter 4. But now, he has a larger audience, and the venue is moved outdoors: the crowd first surrounds him and is “pressing in upon him” — not the last time we will see crowds behave this way: remember the reaction of his disciples when the woman with the bleeding comes up behind Jesus and touches his robe. “You see the crowd pressing around you, and yet you say, ‘Who touched me?'” This is the behaviour of crowds also in our own day in the presence of someone they have come to see. Jesus at first is standing by the shore of Genessaret, but he then finds a solution to the crowding problem: by getting into a boat, and putting out from the land a little bit, he is able to continue teaching, in his usual seated posture that he had taught in also in the two synagogues, but now with a boundary of water between him and the crowds. In the event, it will be those who are with him in the boats who become his followers, as though they were with him on the other side of the waters of baptism. One might wonder why there is mention of two boats, not just the one that Jesus sat in. This is what we call a narrative seed. Some of you may have heard of the term “Chekhov's gun.” The Russian playwright Anton Chekhov said, “If you say in the first act of a play that there is a rifle hanging on the wall, then in the second or third act it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.” In this case, the second boat will be needed in verse 8 when there are too many fish for the one boat to handle. If you've ever seen a stage magician, you'll recall how they always take pains to demonstrate how difficult the trick is: they'll cut a watermelon with the sword they're about to use on the lovely assistant; or fan the cards to show that the deck isn't rigged; or bring up a burly member of the audience to demonstrate how the chains the magician is going to escape from are really strong. God or Jesus isn't a stage magician, of course. But he does like to demonstrate the difficulty of his miracles. Remember Elijah pouring water three times over the altar before the fire of God fell from heaven to burn it up in front of the prophets of Baal? Or Jesus choosing to heal, not a man who had recently become blind, but one who was more than 30 years old and had been blind from birth? Or Jesus pointedly asking the disciples to show him the five loaves and three fish first before proceeding to feed the five thousand with them? In the present story, we are told that “the fishermen had got out of the boats and were washing their nets.” This tell us that they were using trammel-nets, made of linen, which needed to be washed after use. If the linen nets were not washed and dried promptly after use they would rot from the various organic matter stuck in them after use. Further, this washing was invariably done in the morning. Why? Because until the introduction of modern nets made of transparent nylon, fishing with linen nets had to be done at night. During the daytime, the fish could see the nets and avoid being caught by them. So Jesus has found Peter and his partners at precisely the wrong time to catch fish: not only are they done for the day, not only are they already washing their nets, but the sun has now risen, which means it is not possible to catch fish with nets now. Jesus also isn't concerned with fishermen's timetables.  When does he tell them to let down their nets? Nothing to do with with daylight or the schedule of net-cleaning. No, “When he had finished speaking.” At his convenience. Jesus appears to think he is “the main character,” as the kids say these days. Because, well, he is. Put yourself in Peter's shoes. You've been working all night. Fishing is hard. You're in a boat with probably three other men. You have to pull in heavy nets; you may have to dive into the water to wrestle them or unsnag them from something. You are drenched, weary, and have caught nothing. You have washed your nets, maybe mended them if they broke. You're done for the day. And now this Jesus fellow tells you to start all over, and drawing on his vast knowledge of …carpentry? — he tells you to start fishing in the daytime, when you know, from years of experience on the sea, that you will catch nothing. All of which makes Peter's address of Jesus a little more amusing. He calls him ἐπιστάτα. The ESV says, “Master,” but it is probably best translated “boss.” “Boss, we have toiled all night and caught nothing! But at your word I will let down the nets.” “Boss” – the Greek means literally the one who is stationed over something, has authority over it. In this case, the something over which Peter acknowledges Jesus's authority is Peter's boat and indeed his entire business, his profession of fishing, a matter to which he was likely born and bred – like his business partners James and John, whose father Zebedee was with them in the boat, Peter is trained in a thousand little details of skill and technique: the behaviour of fish, the tides, the weather, the use and care and washing and repair of nets; the handling and maintenance of boats; and likely also the salesmanship required to sell his fish, if not to those who would eat them, then to fishmonger middlemen. This was his life, deeply embedded in the community of his town on the shore of the Sea of Galilee, Sea of Tiberias, or Lake Genessaret, depending on who you asked for its name. Indeed, we know from the Talmud that "throughout inland Palestine, Tiberias was the only place where wholesale trade in fish was conducted, and (2) that this wholesale trade in fish was in season in Tiberias probably in the months that were most suitable for the loading and export of fish." So Jesus is there at the Port Alberni of Palestine, boldly giving a command to fishermen who have grown up and make their living catching and selling fish from this lake. And the command that Jesus gives Peter is, quite frankly, absurd: to dirty the nets again after already cleaning them; to let them down in the daytime, when the fish will have no trouble seeing them, rather than at night, which every fisherman knows is the right time to catch fish; and to do it, moreover, in the same location where, as Peter explains to him, “we have laboured all night and have caught nothing.” So why does Peter obey him? Because he accepts his authority, which is not the authority of an expert. The thousand details of the fisherman's trade are indeed matters of expertise, but Jesus does not urge Peter to cast in his nets on the basis of his expertise. The authority of expertise, if you stop and think about it for a moment, is an authority that makes no claims upon our sense of ourselves and our authority to decide things: it rather submits itself for our consideration, as having knowledge of particulars that we could have too, if we invested the effort. No, Peter's faith is not faith in expertise. Rather, it is the same faith that we will see later, in what might well be the same boat, certainly on the same sea, in awe at Jesus's authority: “Who is this, that even the wind and waves obey Him?” It is faith in the Messiah. It is loyalty to Israel's God. More than any disciple, his personality shines out in the gospels: he is a man who wears his heart on his sleeve, ready, out of love for Jesus, to undertake bold actions and to follow Jesus: “Lord, if it is you, command me to come to you on the water”; “Even if all forsake you, yet I will not.” “Lord, it is good for us to be here; let us make three tents.” But at the same time, he is not always able to see through his bold beginnings to their end: so we will see him swearing he doesn't know the man; weeping when the cock crows; beginning to sink in the waves. But this is not one of those moments of weakness. Here, he recognizes in Jesus the holiness of the Lord: “Depart from me, for I am a sinful man.” Peter does not know that Jesus is Israel's God yet. But he knows that He is at least close to Israel's God. Here we recognize the attitude of the prophets of old, for instance, Isaiah 6:5: "Woe is me! For I am lost; for I am a man of unclean lips, and I dwell in the midst of a people of unclean lips; for my eyes have seen the King, the LORD of hosts!" This is the moment when Peter makes a sudden break with his past life. We recall Elijah calling Elisha by throwing his cloak over him while he was plowing. There, too, the master called his pupil in the middle of his work at his job; there, too, the disciple experienced a complete upending of his life. In both cases, the disciple will see His master taken up into heaven; both Elisha and Peter will then be filled with the spirit of their teacher; and from that point, they will show complete fearlessness and boldness. Yes, Peter stumbles several times. Sometimes he is overcome by fear – of the waves, or of persecution and death. Other times, he stumbles because of his deeply ingrained respect for, and assumptions about propriety: as when he rebuked Jesus for saying that He would be rejected and killed ("Lord, this will never happen to you"); or when he objected to Jesus washing his feet; or when, in Acts, he was told to sacrifice and eat a giant picnic blanket of unclean animals and replied, "By no means, Lord; for I have never eaten anything that is common or unclean." (Acts 10:14) But none of these stumbles is permanent. Why? Because Jesus tells him, “Simon, Simon. Satan has asked to sift you like wheat. But I have prayed for you, that your faith may not fail. And when you have returned, strengthen your brothers.” Jesus has just demonstrated that if he wanted to, he could make Peter and the sons of Zebedee into fishing millionaires, the tycoons of the Lake of Genessaret. And because of this, they trust him to the end. But not, notice, in order to get rich: having received the demonstration of Jesus's ability to provide wealth in the context of their business as fishermen, they now leave that business. Later, in the story of the rich young ruler, after that man goes away sad because he had great possessions, Peter pipes up, “Lord, we have left everything to follow you.” And they have. After they saw the demonstration, they didn't care about getting rich as fishermen. They saw what their hearts had longed for. They wanted to be with Jesus. Peter does not treat Jesus as a way to get rich. We read in Acts 3, when Peter heals the lame man at the Beautiful Gate of the Temple, that the lame man first looked at him, hoping to receive something, “But Peter said, "I have no silver and gold, but what I do have I give to you. In the name of Jesus Christ of Nazareth, rise up and walk!" (Acts 3:6) No, Peter is not concerned with silver or gold or catching fish anymore. Jesus has demonstrated that to him a second time when he asked about the Temple Tax, and Peter found a coin inside a fish. Perhaps earlier than any other disciple, he understood well that he should “seek first the kingdom of God and His righteousness” — that is, God's faithfulness to keep his promises to His people, especially the promise to send the Messiah and to forgive their sins — “and all these things shall be added unto you.” Jesus tells Peter two things: first, “Do not be afraid.” Second, “from now on, you will be catching men.” The verb for “catching” is a little bit misleading, since we usually think of “catching” men as something that kidnappers do, or the police with a fugitive. But that's not the connotation of the Greek word ζωγρῶν, literally, “catching alive.” It is not usually a fishing word, though it is an accurate enough description of the usual methods of catching fish: nets and hooks, that result in live fish flopping around. It's not a word you would use for throwing dynamite in a pond or poisoning all the fish. But its usual usage is in contrast to killing: in the Iliad, it's the word used for Diomedes or Achilles sparing an enemy warrior's life and taking him captive for a ransom instead. But in Jesus's usage here, in connection with the net, it is a vivid metaphor: Peter's concern now is to seek the coming kingdom of heaven, which Jesus in Matthew 13 says, “is like a net that was thrown into the sea and gathered fish of every kind. When it was full, men drew it ashore and sat down and sorted the good into containers but threw away the bad.” (I have a running joke with my daughter about how many gross and disgusting things there are in the sea. But Jesus here means the wicked.) At any rate, Peter does indeed “catch men.” He preaches more boldly than anyone in the book of Acts; and he is the means by which Gentiles are first brought into the church. Peter, thus, trusts Jesus after this demonstration of his ability to provide in a single night the catch of a week or more. He and his fellow fishermen will all be martyrs, after all; yet to them applies Jesus's promise that they will sit on twelve thrones judging the twelve tribes of Israel. In the end, Jesus will eat fish with them again, likewise on the shore of the Sea of Galilee, but this time without the crowd, after his resurrection. And then we will see him in the book of Acts boldly telling the Sanhedrin to judge whether it is right to obey them or to obey God. We will see him stretching out his hands and going where he does not want to go — to prison at the hands of a king named Herod, awaiting execution during Passover week, like his Lord Jesus. In Peter's case, we see the truth of George MacDonald's statement: “The Son of God suffered unto the death, not that men might not suffer, but that their sufferings might be like His.” And no one more than Peter. In him we see the truth of Ignatius of Antioch's words in his letter to the Philadelphians around 100 AD: “For my own part, I know and believe that He was in actual human flesh, even after His resurrection. When He appeared to Peter and his companions, He said to them, ‘Take hold of me; touch me, and see that I am no bodiless phantom'. And they touched Him then and there, and believed, for they had had contact with the flesh-and-blood reality of Him. That was how they came by their contempt for death, and proved themselves superior to it. Moreover, He ate and drank with them after He was risen, like any natural man, though even then He and the Father were spiritually one.” Have you thought about why we love Peter? It is because he is so understandable, so relatable. And he stands forth as these things because God chose him and made the gospel writers depict him for us — not as the infallible Pope, but as the fullest example and pattern of the discipleship of a follower of Jesus. In Peter we see the longing for the kingdom of God, the fierce loyalty and sense of propriety (Lord, you will never wash my feet!), the wrongness and error that beset us all, but also the gentleness of Jesus in dealing with Peter, in restoring him; and then the mature disciple in the book of Acts, who has fully comprehended Jesus's teaching and his resurrection, and is able to do great things, including suffering for the name. Let us pray. Grant, O Lord, we beseech thee, that the course of this world may be so peaceably ordered by thy governance, that thy Church may joyfully serve thee in all godly quietness; through Jesus Christ our Lord.  Amen.

Today's poem comes from Matthew Hollis' remarkable collection, Earth House, which blends explorations of the four cardinal directions and original translations of Anglo-Saxon verse from the Exeter Book. Matthew Hollis was born in Norwich in 1971, and now lives in London. His debut Ground Water (Bloodaxe Books, 2004) was shortlisted for the Guardian First Book Award, the Whitbread Poetry Award and the Forward Prize for Best First Collection; it was a Poetry Book Society Recommendation. He is co-editor of Strong Words: Modern Poets on Modern Poetry (Bloodaxe Books, 2000) and 101 Poems Against War (Faber & Faber, 2003), and editor of Selected Poems of Edward Thomas (Faber & Faber, 2011). Now All Roads Lead to France: the Last Years of Edward Thomas (Faber & Faber, UK, 2011; Norton, US, 2012) won the Costa Biography Award and the H. W. Fisher Biography Prize, was Radio 4 Book of the Week and Sunday Times Biography of the Year. He has published the handmade and letterpress pamphlets Stones (Incline Press, 2016), East (Clutag Press, 2016), Leaves (Hazel Press, 2020) and Havener (Bonnefant Press, 2022). Leaves was shortlisted for the Michael Marks Poetry Award 2021. He is the author of The Waste Land: A Biography of a Poem (Faber & Faber, UK, Norton, US, 2022). He was Poetry Editor at Faber & Faber from 2012 to 2023. His second book-length collection, Earth House, was published by Bloodaxe Books in 2023 and was longlisted for The Laurel Prize 2023.-bio via Bloodaxe Books Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

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...

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 10-14.Episode 5: It's time for a three-fer! This little triptych of books explores the combat of the Iliad from a few different perspectives:Stealth (Book 10): Diomedes and Odysseus engaging in feats of derring-do. Non-lethal Damage (Book 11): Greeks and Trojans alike suffer setbacks but most of the Dramatis Personae survive. Siege (Book 12): Did you know the Greeks ALSO have a wall? And that the Trojans are besieging THEM?!Episode 6: We're past the halfway point, and the fighting continues, with the Trojans managing to make it behind the Greek walls to cause some trouble (not that we're ever really allowed to believe they might win). Poseidon aids the Greeks. Hera suits up and bones Zeus to sleep so that some other gods can get in on the action.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.

Apoiados por Zeus, os troianos crescem nos combates e, pela primeira vez, armam suas tendas fora das muralhas, preparando-se para um ataque decisivo no dia seguinte. Impressionados com as centenas de fogueiras troianas que brilham na planície, os gregos enviam Ulisses e Diomedes numa arriscada missão de espionagem. Os dois guerreiros vão deparar, no caminho, com um espião troiano, enviado por Heitor, obtendo dele valiosas informações. Apoiar: https://noitesgregas.com.br/apoiar

Deacon Harrison Garlick and Adam Minihan welcome Thomas Lackey back to the podcast to discuss Book 14 of The Iliad, Hera Outflanks ZeusIn this episode we will discuss:What happens in book fourteen?What are we to make of Love and Sleep conquering Zeus?Why is this one of the funniest books thus far (according to Adam)?What else should be noted in book fourteen?Want our whole guide to The Iliad? Download it for free.Book FourteenHera Outflanks ZeusAnd so, deep in peace, the Father slept on Gargaron peak,Conquered by Sleep and the strong assault of Love. Homer (14.419)64. What happens in book fourteen?Nestor, who was still tending to the injured Machaon, leaves his tent and, upon seeing the ruined wall of the Achaeans, goes to find Agamemnon (14.27). Nestor finds the wounded Agamemnon alongside the also wounded Odysseus and Diomedes (14.34). Agamemnon again despairs and orders the Achaean to prepare to sail home (14.90), and he is chastised by Odysseus who calls him a “disaster” (14.102). Diomedes counsels the wounded kings to return to battle but inspire the soldiers from behind the front lines (14.158). Poseidon inspires Agamemnon and the sea god lets out a cry as loud as “nine, ten thousand combat soldiers” to strengthen the Achaeans (14.182). Meanwhile, Hera, wanting to run interference for Poseidon, plots “to make immortal love” with Zeus and lure him into a deep sleep (14.199). She lies to Aphrodite about her motives, and receives from the goddess of love a band with the power to “make the sanest man go mad” (14.261). Hera next enlists the god Sleep to help her overpower Zeus (14.279) by promising him one of the younger Graces to marry (14.323). Hera seduces Zeus, and the father of gods and men is conquered by love and sleep (14.420). Sleep tells Poseidon of Zeus' slumber, and the sea god leads the Achaeans against the Trojans (14.430, 456). Ajax and Hector clash on the front lines, and Ajax lifts a “holding-stone”—a large stone used to anchor a ship—and strikes Hector (14.486). Hector “plunged in the dust” (14.494) and was taken back to Troy by his comrades (14.509). The retreat of Hector rises the Achaean battle-lust (14.520), and they push back against the Trojans until “the knees of every Trojan shook with fear” (14.592). Homer ends the book with an invocation to the Muses—the 5th invocation—as Poseidon shifts the favor of war to the Achaeans (14.596). 65. What are we to make of Love and Sleep conquering Zeus?To overcome Zeus, the father of gods and men, Hera must employ two powers: Love and Sleep. Hera avers that Love may “overwhelm all gods and mortal men” (14.242). Moreover, in the band of Love that Aphrodite gives Hera, it is said “the world lies in its weaving” (14.265). Similarly, Hera calls Sleep, the “twin brother of Death,” the “master of all gods and all mortal men” (14.279). She makes a similar statement about Night, stating: “old Night that can overpower all gods and mortal men” (14.312). Homer explicitly tells us that Zeus was “conquered by Sleep and the strong assaults of Love” (14.420). The conquering of Zeus raises questions as to the power and role of these more primordial gods. Homer does not present his reader with a clear relation or history between these personifications of primal power and the Olympian gods; however, the Greek poet Hesiod, who lived after Homer in the 700s BC, composed a genealogy of the gods called Theogony....

Zeus segue com seu plano de cumprir a promessa a Tétis: prejudicar os gregos até que peçam perdão a Aquiles. Durante a batalha, Agamênon e seus soldados recuam aterrorizados com os raios lançados pelo deus supremo, sinalizando a preferência pelos troianos naquele dia. Neste episódio, o professor Moreno conta que, apesar do enfraquecimento do batalhão grego, Diomedes segue decidido a fazer um confronto direto com Heitor. Ao fim, começa a ficar claro que Agamênon precisa deixar o orgulho e chamar o maior dos guerreiros de volta. Só assim terão chances de vencer a guerra. Apoie o podcast em https://noitesgregas.com.br/apoiar

Deacon Harrison Garlick and Adam Minihan sit down to talk about Book 11 of the Iliad, Agamemnon's Day of Glory.In this episode we will discuss:What happens in Book 11?What should be noted about Patroclus?What should be noted about Peleus' command to Patroclus?What else should be observed in book 11?Want our whole guide to The Iliad? Download it for free.Achilles will listen to you—for his own good. So the old man told you. You've forgotten. - Nestor to Patroclus (11.943)55. What happens in book eleven?Dawn has finally arisen from her bed (11.01). To welcome the new day, Zeus sends the goddess Strife to the Achaean camp (11.03), and the goddess releases a “high-pitched cry, great and terrible” that drives the Achaeans “mad for war and struggle” (11.14). Agamemnon rallies the Achaeans and Hector the Trojans, as Zeus rains blood from the sky (11.62) and Strife continues her “wild groans” (11.84). Following Diomedes advice to fight on the front lines (9.865), Agamemnon leads the Argives on a bloody warpath against the Trojans (11.107). Agamemnon slaughters his enemies—including one Trojan who Agamemnon cuts off his head and arms and, as Homer says, sends him “rolling through the carnage like a log” (11.170). Zeus sends Iris to tell Hector to stay off the front lines and command his men from the back until Agamemnon is wounded—then Zeus will bless Hector to lead a counteroffensive all the way back to the Achaean ships (11.217). After Agamemnon is wounded and retreats (11.310), Hector pushes the Achaeans all the way back to their rampart (11.330). One by one the Achaean warlords—Diomedes (11.443), Odysseus (11.515), and Machaon the healer (11.598)—are all injured and retreat. Great Ajax desires to hold his ground but is forced to retreat by Zeus (11.638). Still by his ship, Achilles watches the onslaught and tells Patroclus he thinks the Achaeans are ready to “grovel at his knees” (11.719). Achilles sends Patroclus to Nestor for advice (11.722), and Nestor tells Patroclus that Achilles should at least let Patroclus lead the Myrmidons into battle wearing Achilles' armor (11.951). Patroclus leaves to return to Achilles but stops to assist an Achaean suffering from an arrow wound (11.1001). The book ends with Patroclus caring for his fellow solider, and the foretold “doom of Zeus” about the body of Patroclus inches closer (8.551).56. What else should be noted about Patroclus?Of important note is how Patroclus speaks of Achilles to Nestor (11.773). He states that Achilles is a “great and terrible man” and would “leap to accuse a friend without fault” (11.774). It is not the language one would expect from Patroclus, the “great friend” of Achilles (Question 49). We are told that Nestor was part of the group of Achaeans who went to the house of Peleus seeking recruits for the Trojan war (11.916). Peleus tells his son, Achilles, to “always be the best, my boy, the bravest, and hold your head up high above the others,” which is the exact same advice given the Glacus by his father except it lacks the exhortation to “never disgrace the generation of your fathers” (6.247). Whether Homer is inviting a comparison here is a matter of some discussion. We should note well Peleus' command to Patroclus to counsel Achilles, and that Achilles will listen to him (11.940). Amongst all the rage of Achilles, we have little evidence of Patroclus playing the role of counselor or attempting to diffuse the situation. Nestor critiques Patroclus that he has forgotten his role as counselor to Achilles (11.943). One...

Deacon Harrison Garlick and Adam Minihan sit down to talk about Book 10 of the Iliad, Marauding Through the Night.In this episode we will discuss:What happens in Book 10?Hector calls for a spy.Diomedes goes on a rampageWhat else should be observed in book 10?Want our whole guide to The Iliad? Download it for free.53. What happens in book ten?Agamemnon cannot sleep (9.04). He is tormented by the thousand fires of the Trojans camped around his black ships (10.14), and he tears “his hair out by the roots” (10.18). He dresses for war and leaves his tent—only to run into his brother, Menelaus, who is also unsettled (10.30). Menelaus gives Agamemnon the idea of sending out spies against the Trojans (10.45). After waking the other Achaean warlords, Agamemnon holds a war council in which Nestor proposes someone should infiltrate the Trojans (10.241). Diomedes volunteers and selects Odysseus to go with him (10.284). Meanwhile, amongst the Trojans, Hector also calls for a spy, and the warrior Dolon, an ugly but fast fellow (10.369), agrees to go (10.366). In the black of night and out in the no man's land between the armies, Odysseus sees Dolan running, and Odysseus and Diomedes hide amongst the corpses as Dolan goes past at a “dead run” (10.409). The two Achaeans capture Dolon who, in turn, blurts out every detail he knows about the Trojan encampment (10.478, 493) under the assumption he will be taken captive (10.511). Diomedes then decapitates Dolon and his “shrieking head went tumbling in the dust” (10.327). Odysseus and Diomedes elect to attack an outpost described by Dolon, a group of Thracian warriors in league with Troy (10.501, 535). Athena blesses Diomedes (10.557), and he slaughters thirteen Thracians in their sleep—including their king (10.571). Apollo wakes a Thracian who sounds the alarm, and Odysseus and Diomedes ride the slain king's magnificent horses back to the Achaean camp (10.631). The book ends with Odysseus and Diomedes, now bathed and seated for a meal, pouring out a libation to Athena, the goddess who watches over them (10.670).54. What else should be observed in book ten?Agamemnon believes he and Menelaus should do the work of waking up the lesser warlords themselves (10.80); and, similarly, Diomedes notes that it is Nestor, not some younger solider, that has awakened him (10.195). One may interpret this to show the gravity of the situation and the ownership the higher Achaean warlords are exhibiting in this moment. Notice that Nestor unfairly critiques Menelaus for sleeping (10.134), and Agamemnon corrects Nestor but not without stating that Menelaus does tend toward inaction (10.139). Agamemnon's critique of his brother seems contrary to the pattern we have observed of Menelaus being quick to volunteer for some danger and Agamemnon drawing him back. Given the role of archers in the Iliad, it is notable that Homer reveals that Odysseus carries a bow (10.304). In book ten (and eleven), Homer will utilize a great deal of animal similes and imagery. One may note that many of the characters in book ten bear an animal hide, e.g., Agamemnon's lion hide (10.27), Menelaus' leopard hide (10.34), Diomedes' lion hide (10.209), and Dolon's wolf pelt and weasel cap (10.390). One is left to discern what lesson, if any, Homer intends here. Finally, book ten shows a certain comradery between Diomedes and Odysseus who are both cared for by Athena. One could assert that the two Achaean reflect the two general traits of Athena: her military tactics in Odysseus and her raw martial prowess in Diomedes. It should be noted, however, that Odysseus

Deacon Harrison Garlick and Adam Minihan sit down to talk about the embassy to Achilles in Book 9.In this episode we will discuss:What happens in book nine?Who is Phoenix?What is the relationship between Achilles and Patroclus?What effect does the embassy have on Achilles?What else should be noted in the embassy to Achilles?Want our whole guide to The Iliad? Download it for free.Book NineThe Embassy to AchillesBut now at last, stop, Achilles—let your heart-devouring anger go!Odysseus (9.307)47. What happens in book nine?Night has fallen. As the Trojans set their watch, the Achaeans are distraught and panicked (9.02). King Agamemnon despairs and tells his men to sail home (9.31). After a long silence, Diomedes tells Agamemnon to “sail away” (9.49), but Diomedes and company will stay and fight until the “fixed doom of Troy” occurs (9.56). Nestor, the old Achaean war chief, exhorts Agamemnon to have the night sentries take their posts (9.76) and to throw a feast of “grand hospitality” for his senior chieftains (9.80). Agamemnon obeys and, at the feast, Nestor appeals to Agamemnon to make peace with Achilles (9.122). Agamemnon again follows Nestor's lead. He sends Odysseus, Ajax, and Phoenix (9.201) with the promise that Agamemnon will return Briseis to Achilles along with hordes of treasure and more treasure to come when Troy falls (9.146).The embassy finds Achilles playing the lyre by his ships (9.222). Achilles greets them warmly and each member of delegation attempts to convince Achilles to return to the war and save the Argives. But Achilles still harbors an undying rage against Agamemnon, stating: “I hate that man like the very Gates of Death” (9.379). Agamemnon has wounded the honor of Achilles and no gifts can undo that fact (9.470). Achilles even tells Odysseus that Agamemnon can keep and enjoy Briseis (9.407). The heart of Achilles “still heaves with rage” (9.789), and he will not even think of “arming for bloody war again” until Hector has slaughtered the Argives all the way to his own ship (9.795). The embassy reports back to Agamemnon and, as they were all “struck dumb,” Diomedes rallies the chieftains and tells Agamemnon to fight on the front lines tomorrow (9.865). The Achaeans, who are stirred by the speech, make their offerings to Zeus and go to sleep awaiting the dawn (9.866).48. Who is Phoenix? Phoenix, an Achaean, was charged by Peleus, Achilles' father, to train Achilles in war and rhetoric (9.533). Regarding his own background, Phoenix tells the story of sleeping with his father's concubine, at his mother's request, and his father finding out (9.549). Phoenix runs away from home, and Peleus welcomes him into his home as a son (9.583). One may observe the similarity that Phoenix's past and Achilles' present both hinge on a concubine or slave-girl. Phoenix claims to Achilles: “I made you what you are—strong as the gods… I loved you from the heart” (9.587). He expresses his love for Achilles, as a man who knew he'd never have his own son (9.595). In fact, he leverages this into an argument stating: “I made you my son, I tried, so someday you might fight disaster off my back” (9.600). He then gives an explanation of the Prayers of Zeus, personified, who “heal the wounds of mankind” (6.117). The explicit appeal to family and then to the gods (to save his people) invites another comparison between Achilles and Hector—whose piety toward family, polis, and the gods was on display in book six. Phoenix's appeal to the ancient story of Meleager is...

Neste podcast: Clóvis de Barros Filho continua a Ilíada, falando sobre o avanço de Ulisses e Diomedes no terreno troiano.

In this episode, Devin and Colton consider a larger section of Homer's Iliad: Books 9–11. The fate of Troy hinges upon books 9–11. Zeus has begun to accomplish his promise to Thetis and raze Troy to the ground, bringing his will to its end. But first somehow he will need to draw Achilles out of his ship. Yet, before Homer does this, he exalts three of Achaea's finest heroes: Odysseus, Diomedes, and surprisingly Agamemnon himself—whom Homer has not heretofore given much spotlight on the battlefield. What are we to make of Agamemnon? In these three chapters he is all over the map. He ranges from seeking to lavishly restore his relationship with Achilles (Book 9), to wracked by anxiety (Book 10), and to apparently one of the most valiant heroes of the Achaeans (Book 11). And so, is Achilles' version of Agamemnon—which seemed accurate before as a self-exalting, parasitic commander—actually mistaken? What are we, then, to make of Achilles? Is his wrath and bitterness simply immaturity? Or is there greater depth in his slighted honor? #iliad #book #greekmythology #greek --- Send in a voice message: https://podcasters.spotify.com/pod/show/glossahouse/message

Deacon Harrison Garlick and Adam Minihan sit down to talk about the tide of battle turns in Book 8.In this episode we will discuss:What happens in book eight?Do the Achaeans actually need Achillies?What is the relationship between Athena and Zeus?What else should be observed in book eight?Want our whole guide to The Iliad? Download it for free.Book EightThe Tide of Battle TurnsMany attempts have been made to reconcile these two ideas, to assert the overriding power of Zeus's will on the one hand, or that of a nameless destiny on the other. - Knox43. What happens in book eight?Zeus issues a new, “strict decree” that the gods are no longer to help the Achaeans or the Trojans in order that Zeus may “bring this violent business to an end” (8.08). The gods are in “stunned silence” when Athena acknowledges Father Zeus' command but also provides the caveat that she'll “simply offer the Argives tactics” (8.42). As the fighting begins anew, Zeus holds out his “sacred golden scales” of fate, and they show a “day of doom” for the Achaeans, the Greeks (8.85). Zeus makes known this judgment by letting loose his lightning and thunder against the Argives (8.89), and as they retreat, Nestor is left behind—because Prince Paris shoots his horse (8.97). Diomedes charges the front lines by himself and saves Nestor using the horses he took from Aeneas (8.116); but then he also decides to charge Troy alone in an attempt to kill Hector (8.129). Diomedes turns around, however, due to the advice of Nestor and the lightning and thunder of Zeus (8.163). Hector, bolstered by Zeus' favor, leads Troy in an onslaught against the Argives (8.197). The goddess Hera, who is raging in Olympus, first tempts Poseidon to intervene against Zeus' decree, but Poseidon wisely declines to fight Zeus (8.239). Hera inspires Agamemnon (8.250), the Achaean high chieftain inspires his men and cries out to Zeus for mercy (8.271). Zeus, moved by the weeping of Agamemnon (8.280), sends an eagle as an omen that the Argives may turn and fight (8.282). Zeus, however, favors the Trojans, and Hector leads an assault with eyes blazing like the war god, Ares (8.383, 398). Having failed to tempt Poseidon, Hera tempts Athena to intervene against Zeus' decree, and Athena acquiesces and prepares for war (8.401). Zeus sends Iris, the messenger goddess, to Hera and Athena, and the two goddesses, not wanting to war with Zeus, call off their return to the battlefield (8.490). On Olympus, Zeus partially reveals his plan to Hera and Athena, the so-called “doom of Zeus” (8.551)—that there will be a battle over the body of Patroclus, friend of Achilles. Hector pushes the advance against the Greeks until nightfall, and the Trojans, the Achaeans, and the gods all wait for “Dawn to mount her glowing throne” (8.654). 44. Do the Achaeans actually need Achilles?The movement of book eight is largely structured by Zeus' promise to Thetis—that the Trojans would prosper until King Agamemnon sees his need for Achilles (8.423). Often times, however, this is read as a self-fulfilling prophecy. In other words, that the lack of Achilles on the battlefield will inevitably lead to a Trojan advancement; yet, in contrast, it would seem that Homer presents a situation in which Zeus must bless the Trojans or the Argives will win even without Achilles. For example, examine the role of Diomedes. First, the Trojans have already stated they fear Diomedes more than they even did Achilles. Second, when Diomedes charges the Trojans to kill Hector while...

Neste podcast: Clóvis de Barros Filho continua a Ilíada, falando sobre o encontro de Ulisses e Diomedes com o espião troiano.

Deacon Harrison Garlick and Adam Minihan sit down to talk about Hector returning to Troy.In this episode we will discuss:What happens in book six?What should be noted in the duel between Glaucus and Diomedes?What may be noted in Helen's lament to Prince Hector?What lesson does Homer provide by Hector returning to Troy?Is Homer presenting Hector as a virtuous character?Book SixHector Returns to TroyAlways be the best, my boy, the bravest, and hold your head up high above the others. Never disgrace the generation of your fathers.Hippolochus to Glaucus, his son (6.247)35. What happens in book six of the Iliad?Pressed against an Achaean advance led by Ajax and Diomedes, Hector and Aeneas receive word of an omen from Helenus, son of Priam, the seer (6.88). The Trojan army is to hold the line, while Hector is to return to Troy and direct his mother, the queen of Troy, to arrange a sacrifice to Athena—a sacrifice to entice the goddess of wisdom to pity Troy and hold back Diomedes (6.102). Hector obeys and returns to the palace of Priam—a magnificent structure that houses the fifty sons and twelve daughters of King Priam (6.291). Hector tells Hecuba, his mother and queen of Troy, to perform the sacrifice (6.318). It is notable that she is to lay before Athena the robe she personally prizes the most, which illuminates the personal sacrifice being ask of her (6.323). Hecuba obeys, but Athena refuses to listen to the Trojan prayers (6.366). It is not unremarkable that Homer immediately follows Athena's rejection with the introduction of Paris into the narrative (6.368). Hector chastises Paris—who has remained in his bedroom since his duel with Menelaus—and exhorts him to return to the war (6.383). Before returning to the war, Hector visits his wife, Andromache, and his son Scamandrius, who the Trojans affectionately call the “Lord of the City” (6.477). Hector then rendezvouses with his brother, Paris, and returns to fight the Achaeans (6.601).36. What should be noted in the duel between Glaucus and Diomedes?After we see Hector begins his return to Troy, we are introduced to the duel between Glaucus, the Trojan, and Diomedes, the Achaean (6.138). Diomedes, whom Homer gives the epithet usually reserved for Menelaus—“the lord of the war cry”—taunts his opponent but notably gives the caveat he will not fight a deathless god in disguise (6.148). He is still obedient to Athena's command to not fight the gods—save Aphrodite (5.142). At first, Glaucus provides a somewhat nihilistic response, stating, in part, “like the generations of leaves, the lives of mortal men” (6.171). He then, however, begins his lineage with Sisyphus, “the wiliest man alive,” who is a prominent figure in Greek mythology (6.180). To wit, Sisyphus had a habit of wanting to outsmart the gods, and this resulted in him being damned to Hades to roll a stone up a hill (only to have it roll back down) for all eternity. His son, Glaucus (the great-grandfather of the Glaucus dueling Diomedes) decided to habituate his horses to eating “human flesh to make them fierce in battle.” For this horrific act, the gods ensured Glaucus was tossed from his chariot and devoured by his own horses. His son Bellerophon, who may have been sired by Poseidon instead, is a classic hero in Greek mythology. The narrative of Antea being unable to seduce Bellerophon but then blaming him for lusting after her (6.188) bears many similarities with the Hebrew story of Joseph and Potiphar's wife (Gen 39:5-20). Bellerophon carries his own death sentence to Antea's father, and the...

Deacon Harrison Garlick and Adam Minihan are joined by Grayson Quay. Grayson Quay Grayson Quay is a writer and News and Opinion Editor for the Daily Caller. He earned his M.A. from Georgetown University in 2019.Book FiveDiomedes Fights the GodsNow take heart, Diomedes, fight it out with the Trojans!Deep in your chest I've put your father's strength.Athena (5.137)30. What happens in book five of the Iliad? Athena grants Diomedes, an Achaean, power to fight the Trojans (5.01) and convinces Ares, who has sided with the Trojans, to refrain from entering the fray (5.33). Diomedes is “smashing the Trojan lines before him” (5.105) when Pandarus, the Trojan who previously broke the truce by shooting Menelaus, shoots Diomedes (5.107). Diomedes is restored by Athena who tells him not to fight any of immortals save Aphrodite and grants him the ability to see the gods (5.142). Diomedes delivers a brutal death to Pandarus (5.321) and gravely wounds Aeneas (5.340). As she did for Paris, Aphrodite now attempts to whisk Aeneas, her son, away from his immanent death, but Diomedes spears the immortal goddess in the wrist (5.380). Apollo, who has to repel Diomedes several times, is able to rescue Aeneas and places a “phantom” Aeneas on the battlefield (5.517). Apollo convinces Ares to return to the fight on behalf of the Trojans (5.523). Sarpedon, son of Zeus, chides his fellow Trojan, prince Hector, for his lack of courage in the face of the onslaught of Diomedes (5.540), and Aeneas, having been tended to by the gods, returns to the battle (5.592). Hector and Ares push the Trojans forward, and Diomedes—who was given the gift to see the gods by Athena—warns his fellow Achaeans of the war god's presence (5.694). Hera and Athena return to the field of battle, and Athena assists Diomedes in spearing the god of war (5.989). A wounded Ares returns to Olympus and, after a tirade against Athena to Zeus, is healed and then sits next to Zeus (5.1050). 31. Is Athena or Ares the actual god of war?The more robust presentation of Athena in book five challenges our preliminary understanding of Athena as the goddess of wisdom and Ares as the god of war. Note she arguably outwits Ares by having him refrain from fighting (5.33) while she continues to intervene (5.136). Zeus seemingly defers to both regarding war, as he tells the wounded Aphrodite that “Athena and blazing Ares will deal with all the bloodshed” (5.494). Athena's role is not reducible to simply influencing warriors, as she has her own war-gear (5.841) and, after seeking Zeus' blessing, Zeus states, “she's the one—his match, a marvel at bringing Ares down in pain” (5.880). Athena outwits Ares and helps Diomedes spear him in the bowels (5.989). In contrast, Ares is a “maniac” and without a “sense of justice” (5.874). He is “born for disaster, double-dealing, lying two-faced god” (5.960). He a “butcher” (5.978). He is called the “war-god” (5.960), and his “lust for slaughter never dies” (5.997). In short, Homer presents Ares as a god of slaughter, violence, and chaos, while Athena retains her rationality in war—a goddess of tactics and strategy. One recalls here her affinity for Odysseus, the great tactician of the Achaeans.At the end of book five, Homer gives a comical juxtaposition of Ares and Athena. The war-god is racked with “self-pity” (5.1006) and “whining” to Zeus about Athena (5.1029). In the mouth of Ares, Homer provides one of the earliest accounts...

What is a god in Homer's Iliad? What is immortality for the Greeks—simply never dying? How can both Aphrodite and Ares, being a god and goddess, become injured? Being divine, how do their injuries in battle compare with human injuries? When Athena lifts a “mist” from Diomedes' eyes to distinguish between gods and men, what does he really see? When the gods fight for men, do they really have the best interest of the men in mind? Once again, Devin and Colton consider these questions (and more) in Episode 6: Iliad, Book 5. --- Send in a voice message: https://podcasters.spotify.com/pod/show/glossahouse/message

Contenidos deportivos, personajes de actualidad y grandes artistas para acompañarlo los fines de semana.

A presença dos deuses na guerra é imprescindível para que a narrativa de Homero se desenvolva. E Atena, protetora dos heróis e defensora os gregos, é talvez a divindade mais atuante nas batalhas. Neste episódio, o professor Moreno mostra o apoio que ela dá a Diomedes, o guerreiro mais importante depois de Aquiles. Você também vai saber dos bastidores do Olimpo e a disputa por influência entre Apolo, Ares e a própria Atena.

In today's episode, we're exploring the timeworn theme of the rise and fall of empires, a topic that has captured many imaginations. Joining us is Gregory Michael Nixon, whose youthful fascination with the myths of Bronze Age Greece has flourished into a lifelong scholarly pursuit. Now in retirement beside the tranquil Okanagan Lake, Nixon has channeled his knowledge and enthusiasm into "The Diomedeia," a novel that transports us to the aftermath of Troy's fall and into the decline of the Hittite Empire.  The "Bronze Age Collapse" comes to life through Nixon's narrative, weaving historical events with the legendary deeds of Diomedes and the multifaceted Peoples of the Sea. The novel promises a journey where ancient myth and history converge, celebrating the enduring legacy of a legendary hero. BUY THE BOOK: https://amzn.to/46yzBic Connect: https://www.facebook.com/AuthorGregoryNixon https://www.goodreads.com/book/show/61836881-the-diomedeia https://www.amazon.com/author/doknyx https://gregorynixon.academia.edu https://twitter.com/doknyx73 https://www.instagram.com/doknyx86/ https://www.facebook.com/profile.php?id=100089912439773 --- ⁠⁠⁠⁠⁠"All the Fits That's News": Alex's Substack⁠⁠⁠⁠⁠ (Free) Alex Greenwood on Medium: ⁠⁠⁠⁠⁠https://a-greenwood.medium.com/⁠⁠⁠⁠⁠ (Subscription) Follow him on X/Twitter:  ⁠⁠⁠⁠⁠⁠@A_Greenwood⁠⁠⁠⁠⁠⁠ Follow him on Threads: ⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@alexginkc⁠⁠⁠⁠⁠⁠⁠ Catch Alex's True Crime Show: GOING TO KILLING CITY. Listen on ⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠, and wherever you get your pods! Enjoyed the episode? Please leave us a review on your podcast platform of choice, and don't forget to subscribe for more literary journeys! ⁠⁠⁠⁠⁠⁠LEAVE A REVIEW ON APPLE PODCASTS⁠⁠⁠⁠⁠⁠ For show notes and more, visit the show website at ⁠⁠⁠⁠⁠MGOPod.com⁠⁠⁠⁠⁠. "Holiday Weasel" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License ⁠⁠⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠⁠⁠ This Mysterious Goings On Podcast episode was recorded and mixed at Green Shebeen Studios in beautiful Kansas City, Missouri. Copyright 2023, all rights reserved. No reproduction, excerpting, or other use without written permission. We are an Amazon Associates seller, and some of our links may earn us a commission. --- Send in a voice message: https://podcasters.spotify.com/pod/show/j-alexander-greenwood/message

Hey there folks! This week, Diomedes pulls together a shocking plan. Next week, we begin the end, talking about chapters 83 - THE END of Light Bringer! Beyond that, please be sure to follow us or subscribe on your podcatcher of choice, and leave a review on iTunes, Stitcher, or wherever. It goes a long way to helping the podcast grow. You can also check out our Patreon at Patreon.com/Wordsandwhiskey Check it out! Another way you could help us out? Refer us to your friends. We love a good referral, don't we folks? Send us ANY questions to our twitter account, Instagram, or to our email. See you next week! Link: https://wordsandwhiskey.show/episode/180-light-bringer-episode-11-chapter-78-82

Andar bebiendo es como tener un hada madrina, un compañero que te acompaña para divertirte y esto facilita que ciertas situaciones se resuelvan con un toque más ameno y efectivo.

Auditions are hard! Shakespeare auditions are even harder, if you're unsure where to start. Welcome to the series where I go through a play and chat through audition monologue options best suited for each type of character. Sections: 2:30-7:22 - Play Summary 7:22-9:52 Character Summary 9:52-11:10Character Groupings 1-3 Monologues for each character grouping 11:10-16:58 (The Lovers: Troilus, Paris, Patroclus) 16:58-20:46 (The Clever Lovers: Cressida, Helen, Andromache) 20:46-24:03 (Fun Uncle: Pandarus) 24:03-25:17 (Fool: Thersites) 25:17-26:29 (Seer: Cassandra) 26:29-30:10 (Talkers: Priam, Agamemnon, Ulysses, Nestor, Menelaus, Calchas) 30:10-30:43 (Fighty Braggy Boys: Achilles, Ajax, Hector, Aeneas, Diomedes, Helenus) Still working on the best format for this so please get in touch @p2mpod on instagram, Twitter, and TikTok, and check out our patreon where you can get access to the slides referenced in this episode!

¡Suscríbete y comparte! Archipiélago Histórico es un podcast sobre historia del Caribe creado y dirigido por el historiador puertorriqueño Ramón González-Arango López. Archipiélago Histórico es un proyecto de divulgación dirigido al público general. Aquí podrás aprender de muchos temas interesantes de forma accesible, entretenida y clara. ¡Nuevo episodio todos los jueves! En el siguiente enlace encontrarás en dónde seguir el podcast y como apoyarnos:⁠https://linktr.ee/archipielagohistorico⁠ ♪ ''Lo que nos une'' (pieza musical en el intro y outro) utilizada con el consentimiento expreso de su compositor e intérprete, José Gabriel Muñoz. El arte de logotipo de Archipiélago Histórico fue hecho por Roberto Pérez Reyes: ⁠https://linktr.ee/robertocamuy © Ramón A. González-Arango López, 2023 Todos los derechos reservados. Este podcast, Archipiélago Histórico, y su contenido están protegidos por derechos de autor. Queda prohibida la reproducción, distribución o cualquier otro uso sin autorización previa por escrito del propietario. Cualquier uso no autorizado viola los derechos de autor y estará sujeto a acciones legales. © Ramón A. González-Arango López, 2023 All rights reserved. This podcast, Archipiélago Histórico, and its content are protected by copyright. Reproduction, distribution, or any other unauthorized use is prohibited without prior written permission from the owner. Any unauthorized use violates copyright and will be subject to legal action. --- Send in a voice message: https://podcasters.spotify.com/pod/show/archipielagohistorico/message Support this podcast: https://podcasters.spotify.com/pod/show/archipielagohistorico/support

https://www.youtube.com/watch?v=1lteLTD_Efs #2023 #art #music #movies #poetry #poem #photooftheday #volcano #news #money #food #weather #climate #monkeys #horse #puppy #fyp #love #instagood #onelove #eyes #getyoked #horsie #gotmilk #book #shecomin #getready 

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We come to the second monologue in PURGATORIO, Canto V. This time, we're on the other side of the battle of Campeldino with one of Dante's enemies. And we're on the other side of INFERNO, with a son whose father we saw damned with Ulysses and Diomedes.Join me, Mark Scarbrough, as we explore this most surprising speech and continue to discuss the ways PURGATORIO is changing the game for Dante's masterpiece, COMEDY.Here are the segments of this episode of WALKING WITH DANTE:[01:19] My English translation of the passage: PURGATORIO, Canto V, lines 85 - 129. If you'd like to read along, print it off, or drop a comment on this episode, please go to my website: markscarbrough.com.[04:38] Who was Buonconte da Montefeltro?[08:36] A positive and a negative node in the passage: a sense of humility and a growing misogyny in PURGATORIO.[13:11] Dante the poet offers a ham-handed narrative tercet while also forgiving his enemy, Buonconte--in other words, bad form but good ethics.[14:25] Buonconte's speech is the first true node of the veneration of the Virgin Mary in COMEDY. But there's also a problem here. What or whom is Buonconte actually forgiving?[18:05] Buonconte brings up the problem of veracity in COMEDY by foregrounding the credulity (or incredulity) of his story.[22:01] There are demonic voices in PURGATORIO![23:26] There are more bits of Virgil's GEORGICS in this passage. Even more important, Buonconte's speech shows that COMEDY is becoming more and more encyclopedic.[27:35] Two shocking bits. Apparently, one needn't be buried in sacred ground. And Dante the poet gives the more learned speech to his former enemy.[29:49] Four ways Buonconte's speech ties back to Jacopo del Cassero's: 1) Campeldino, 2) bloody deaths, 3) a tour of Italian geography, and 4) distinct references back to INFERNO.

Welcome to our 100th Episode! For this momentous occasion, join me in exploring the monsters involved in Heracles' labours - how were the Mares of Diomedes tamed? How can you make sure you kill a Hydra? Find out this week in a fun, different special!Support the showYou can find us on -Myth Monsters Website: https://mythmonsters.co.ukSpotify: https://open.spotify.com/show/5RPGDjM...Apple Podcasts: https://podcasts.apple.com/gb/podcast...Google Podcasts: ...

Remember way back when the Trojans were “eating their tables”? Well, in Book 11 their tables seem to be turning. Seems like just yesterday Aeneas was raging as Rambo and Turnus was carrying himself with Hector-like respectability. Sed ecce!—Aeneas is handing out truces like sticks of Big Red and actually validating hurt Latin feelings, while Turnus' allies are turning against him and blaming him for the whole mess. Even old Diomedes is once bitten, twice shy, telling the Latins there is no way he's tangling with Venus or her son ever again. So that's it? It's over? Not quite—Turnus has a couple of aces up his sleeve, including a spear-swift, water-walking, grain-skipping warrior maiden who is juuuuuust over the horizon.

En este episodio de El Gallo Pódcast les presenta una nueva clínica de fertilidad dónde la imagen es Diomedes Díaz, además nos indignamos por la comparación entre Bad Bunny y Frank Sinatra, yyyyyyy entrevistamos a Petrosky.

"Who drives us to outrageous action? Is it some god, or does each man make of his own desire a god, which then drives him furiously to a violent end"? This is the question we consider this week as we turn to the final quarter of the epic (books 9-12). And we are treated to two surprising events: first, how the ships of the Trojans are transformed into mermaids, shocking Turnus and his gathered Rutulians. Juno is up to her old tricks, and sends along Iris the messenger to tell him not to worry, the Trojans will be trapped in Italy where they can be easy prey for the indigenous hero and his assorted forces. Aeneas is off-scene, still wandering through the regions of Arcadia, securing alliances with Evander and company. The second episode is the midnight raid of Nisus and Euryalus. In a nod to – or perhaps improvement upon – Homer's Iliad 10 and the gruesome death of Dolon at the hands of Odysseus and Diomedes, Vergil here tells his own tragic story of two friends overtaken by greed and a desire for bloodlust. It's not all grim, however. Along the way you can spot silos of Pringles™, the grit of Fig Newtons™, a brief excursion to the admittedly grim Battle of the Little Big Horn, and some Uncrustables™. One might say that mixing the serious with the silly has become Jeff and Dave's ™. So tune in!  

I read from dinucleotide to dioptric.     A Diode is used in electrical thingies.  https://en.wikipedia.org/wiki/Diode     It looks like many stories have been written about Diomedes. https://en.wikipedia.org/wiki/Diomedes     If I understand the basics, a Diopter is a unit of thickness of a lens that determines how far away from the lens the light focuses.  https://en.wikipedia.org/wiki/Dioptre     The word of the episode is "Dionysus". Wow! Dionysus is the god of many things including "...grape-harvest, winemaking, orchards and fruit, vegetation, fertility, insanity, ritual madness, religious ecstasy, festivity, and theatre." https://en.wikipedia.org/wiki/Dionysus Let's Party! The Dionysia was the 2nd most important festival of the year! https://en.wikipedia.org/wiki/Dionysia I think living a balance between Dionysian and Apollonian is best.  https://en.wikipedia.org/wiki/Apollonian_and_Dionysian     Theme music from Tom Maslowski https://zestysol.com/     Merchandising! https://www.teepublic.com/user/spejampar     "The Dictionary - Letter A" on YouTube   "The Dictionary - Letter B" on YouTube   "The Dictionary - Letter C" on YouTube   "The Dictionary - Letter D" on YouTube     Featured in a Top 10 Dictionary Podcasts list! https://blog.feedspot.com/dictionary_podcasts/     Backwards Talking on YouTube: https://www.youtube.com/playlist?list=PLmIujMwEDbgZUexyR90jaTEEVmAYcCzuq     dictionarypod@gmail.com https://www.facebook.com/thedictionarypod/ https://twitter.com/dictionarypod https://www.instagram.com/dictionarypod/ https://www.patreon.com/spejampar https://www.tiktok.com/@spejampar 917-727-5757

The demi-god Hercules was regarded as a great hero for the people of Rome and Greece. He was known for performing various deeds that no mortal could. Hercules was an everyman who had bad days and even died due to another's trickery. These stories were entertaining, but they also told an important lesson to an audience: If bad things can happen to a hero, they have nothing to be ashamed of.The most famous of his activities was the 12 labours that Hercules was asked to perform by his cousin Eurystheus, who was the king of Mycenae and Tiryns. The first set of labours numbered only ten, but they eventually grew to twelve.To kill the Nemean Lion who was impervious to all weapons. To kill the monster known as the Hydra who had nine venomous heads and, when one was cut off, two more would grow in its place. To capture the Cerynitian Hind who was sacred to the goddess Artemis.To capture the Erymanthian Boar. Cleaning the Stables of Augeius in a day.To drive away the Stymphalian Birds.To bring back the Cretan Bull from Knossos.To bring back the Mares of Diomedes.To bring back Hippolyte's Girdle.To bring back the cattle of Geryon, king of Cadiz.To bring back the Golden Apples of Hesperides.To bring back Cerberus, the guard dog of the underworld.Read more at https://mythlok.com/hercules/

This week's fun-size offering tackles the mysterious, quasi-historical object known as the Palladium. Readers of myth might remember this as the talisman held in the Trojan citadel which protected the city until it was stolen away by Odysseus and Diomedes. But the story doesn't end there. Rumor says it went to Athens or Sparta, and then maybe Rome. Is the Palladium something that makes the jump from mythic symbol to historical artifact? Was it something like the ξόανον the Athenians kept in the Erechtheion? Did Elagabalus move the Palladium into his Rumpus Room? Did Constantine bury it under his column? Could it still be there?