mythological Greek character
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13 episodes with Patroclus
12 episodes with Patroclus
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4 episodes with Patroclus
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2 episodes with Patroclus
7 episodes with Patroclus
2 episodes with Patroclus
***Complete our listener survey for a chance to win a $50 gift card! *** As dawn breaks, the lovers bid each other a tearful farewell, exchanging love tokens: Troilus gives Cressida a silver bracelet and she gives him a necklace. Diomedes arrives to take Cressida to the Greek camp as Paris, Aeneas and Deiphobus speed off to the battlefield. Meanwhile, Ajax rouses the Grecian nobles in his excitement for the single combat with Hector. They humor him until Cressida arrives. One by one, each of the commanders try to force Cressida to kiss them. She uses her wit and sarcasm to keep them at bay. Ulysses ridicules her as a loose woman until Aeneas arrives to inform them that because Ajax and Hector are cousins, their duel cannot be to the death. The two combatants go at each other but settle for a draw. Hector is invited into the Greek camp to feast. All is well until Achilles arrives and vows to kill Hector in battle the next day. Troilus pulls Ulysses aside and asks him to take him to Calchas's tent so that he can visit Cressida. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON. Executive Producer: MICHAEL GOODFRIEND This podcast was recorded under a SAG-AFTRA AGREEMENT. The cast is as follows: BENJAMIN BONENFANT as TROILUS AWNI ABDI-BAHRI as CRESSIDA JAMES UDOM as ACHILLES GEOFFREY ALLEN MURPHY as AJAX STEVEN RATTAZZI as PANDARUS and MENELAUS DAISUKE TSUJI as THERSITES ANNA SUNDBERG as ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN as AENEAS, MARGARELON and HELENUS ROB NAGLE as AGAMEMNON LISA WOLPE as ULYSSES WAYNE T. CARR as HECTOR and CALCHAS EDWARD GERO as NESTOR and PRIAM EDDIE LOPEZ as PATROCLUS and PARIS JOHNNY WU as DIOMEDES KIM MARTIN COTTON as ANDROMOCHE Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare. Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices
***Complete our listener survey for a chance to win a $50 gift card! *** Just as Troilus and Cressida finally unite, her father Calchas, a traitor who betrayed Troy to join the Greeks, petitions the Greek generals to trade for her so he can have her with him again. Agamemnon orders Diomedes to supervise the exchange. Ulysses then convinces the Greek commanders to rile up Achilles by walking past his tent without acknowledging him. When Achilles asks Ulysses what's going on, Ulysses tells him Ajax is the new hero because he took up Hector's challenge, but that if Achilles would break off his secret relationship with a Trojan princess and get back to fighting, his could restore his reputation. Thersites rubs it in by reporting that Ajax is strutting around the Greek camp completely full of himself. Achilles tells Thersites he wants to see Hector at his tent after the fight. Back in Troy, Diomedes arrives at Aeneas's home to finalize the prisoner exchange for Cressida. Aeneas rushes to Troilus's house to break the news to him. He gets there just as Pandarus is teasing the couple in their love nest. When Aeneas finally delivers the royal decree demanding that Cressida be handed over immediately, Troilus is devastated, and Cressida swears she will not leave. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON. Executive Producer: MICHAEL GOODFRIEND This podcast was recorded under a SAG-AFTRA AGREEMENT. The cast is as follows: BENJAMIN BONENFANT as TROILUS AWNI ABDI-BAHRI as CRESSIDA JAMES UDOM as ACHILLES GEOFFREY ALLEN MURPHY as AJAX STEVEN RATTAZZI as PANDARUS and MENELAUS DAISUKE TSUJI as THERSITES ANNA SUNDBERG as ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN as AENEAS, MARGARELON and HELENUS ROB NAGLE as AGAMEMNON LISA WOLPE as ULYSSES WAYNE T. CARR as HECTOR and CALCHAS EDWARD GERO as NESTOR and PRIAM EDDIE LOPEZ as PATROCLUS and PARIS JOHNNY WU as DIOMEDES KIM MARTIN COTTON as ANDROMOCHE Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare. Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices
What happens when a poet who survived prison sits down with the world's oldest war story--and reads it in three sleepless, wandering days? In this second episode of the EconTalk Book Club on the Iliad, Dwayne Betts and EconTalk host Russ Roberts trade their impressions of the Iliad, discovering it's less about war than about fathers, friendship, and the stubborn dignity people find inside fates they can't escape. Betts connects Achilles's rage and grief to his own experience of incarceration and depression, while Roberts marvels at Homer's cinematic style and the strange tenderness between enemies. Together they unpack the shield of Achilles, the ransom of Hector's body, and how an ancient poem about war still cracks readers open today. It's a conversation about reading as communion--and how a 2,800-year-old story became, unexpectedly, a way of connecting to each other.
***Complete our listener survey for a chance to win a $50 gift card! *** Thersites delights in insulting Patroclus, Achilles, Agamemnon and everyone they command. When Agamemnon arrives with his entourage, Achilles withdraws into his tent and refuses to meet with him. Agamemnon turns to Ajax and heaps praise on him, encouraging him to be their champion in single combat with Hector instead of Achilles. Back at the palace in Troy, Pandarus meets with Paris and Helen in their decadent love nest to make excuses for Troilus's absence from their dinner. Helen persuades him to sing them a love song before sending him on his way. Pandarus finds Troilus anxiously awaiting Cressida in an orchard and finally brings the lovers together. They promise each other complete fidelity with Pandarus as their witness before hurrying into a bedroom to consummate their relationship. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON. Executive Producer: MICHAEL GOODFRIEND This podcast was recorded under a SAG-AFTRA AGREEMENT. The cast is as follows: BENJAMIN BONENFANT as TROILUS AWNI ABDI-BAHRI as CRESSIDA JAMES UDOM as ACHILLES GEOFFREY ALLEN MURPHY as AJAX STEVEN RATTAZZI as PANDARUS and MENELAUS DAISUKE TSUJI as THERSITES ANNA SUNDBERG as ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN as AENEAS, MARGARELON and HELENUS ROB NAGLE as AGAMEMNON LISA WOLPE as ULYSSES WAYNE T. CARR as HECTOR and CALCHAS EDWARD GERO as NESTOR and PRIAM EDDIE LOPEZ as PATROCLUS and PARIS JOHNNY WU as DIOMEDES KIM MARTIN COTTON as ANDROMOCHE Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare. Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices
***Complete our listener survey for a chance to win a $50 gift card! *** As Agamemnon and his Generals argue in the Greek camp, the Trojan Aeneas arrives to deliver Hector's challenge to a duel in single combat. When the brute Ajax hears about the proclamation, he beats the foul-mouthed slave Thersites for not telling him what it says. Achilles and Patroclus come to Thersites' rescue and defend him from Ajax even though Thersites insists on insulting all of them. Back in the Royal Palace of Troy, Priam and his sons Hector, Paris and Troilus dine in the Trojan Council Chamber and debate whether to surrender Helen to end the war. Hector argues she isn't worth the bloodshed and that it's the honorable thing to do. They are interrupted by their mad sister, Cassandra, who enters and prophesies that if they do not let Helen go, Troy will burn. Troilus and Paris argue to keep her nonetheless, ultimately deciding to continue the fight. Back in the Greek camp, Ajax hopes to be picked as the champion to fight Hector. Thersites curses them all. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON. Executive Producer: MICHAEL GOODFRIEND This podcast was recorded under a SAG-AFTRA AGREEMENT. The cast is as follows: BENJAMIN BONENFANT as TROILUS AWNI ABDI-BAHRI as CRESSIDA JAMES UDOM as ACHILLES GEOFFREY ALLEN MURPHY as AJAX STEVEN RATTAZZI as PANDARUS and MENELAUS DAISUKE TSUJI as THERSITES ANNA SUNDBERG as ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN as AENEAS, MARGARELON and HELENUS ROB NAGLE as AGAMEMNON LISA WOLPE as ULYSSES WAYNE T. CARR as HECTOR and CALCHAS EDWARD GERO as NESTOR and PRIAM EDDIE LOPEZ as PATROCLUS and PARIS JOHNNY WU as DIOMEDES KIM MARTIN COTTON as ANDROMOCHE Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare. Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices
We’ve got five literature classics to introduce to your family through board games. 0:00:00 Fact for 426 The number of people living past the age of 80 worldwide is projected to triple, hitting roughly 426 million by the year 2050. Sponsor Message Go to FirstMoveFinancial.com/familygamers and set up a free 15 minute call to see if they can help! 0:04:30 What We’ve Been Playing Obelus (our review)Spirits of the Wild: AwakeningFire TowerPalette *Tag Team (*) first time mentioned on The Family Gamers Podcast June Monthly Report Andrew: 22 plays of 8 unique games. H-index 3 (LotR Trick Taking, Trio, Got Five!) Anitra: 27 plays of 12 unique games. H-index 3 (same as Andrew) 0:16:45 The Family Gamers Community Welcome new members! #Backtalk We asked you about how you treat board games. Read the answers on Facebook or #backtalk channel of the Discord. 0:22:40 Classic Literature to Introduce via Board Games We’re going to focus on games that will whet the appetite: You don’t need to already know the stories to enjoy them, but there’s enough to make kids WANT to dig deeper. 1. Winnie the Pooh stories by A.A. Milne: Hundred Acre Wood Fluxx 2. Classic Grimm’s fairy tales: The Grimm Masquerade and 3 Chapters – both of these games make characters from different tales interact, but with specialized relationships unique to each one. 3. The Adventures of Sherlock Holmes by Sir Arthur Conan Doyle: tons of games that riff on this character. But the best to introduce the setting and themes from Doyle’s stories include: Unmatched: Cobble & Fog Baker Street Irregulars (4-book / 4-player mystery from Van Ryder publishing) Sherlock 13 (deduction of a criminal, introduces many characters) 4. Shakespeare: be careful in how you approach this! Shakespeare is wonderful, but not great if you’re forced to read it. We recommend Unmatched: Slings & Arrows to introduce some of the fun of Shakespeare. 5. Greek mythology: Horrified: Greek Monsters Santorini Iliad (Unmatched has Medusa in BoL1, Achilles & Patroclus in BoL2) One more shout out for the Unmatched series. They pull from tons of classics: Alice in Wonderland, Beowulf, Robin Hood, Sinbad, and even modern “classics” like Jurassic Park, Marvel characters, The Witcher, Buffy, and TMNT. (Other games based on classic literature that are great, but work much better if you already love the story: Ichor, Bottle Imp, Paint the Roses, Princess and the Goblin, The Grimm Forest) 0:46:10 New Backtalk Question What’s your hidden gem? What’s a lesser-known game that you just click with? Or a game that you think should be much better known because it’s awesome? Tell us on the #backtalk channel on our Discord, or in our Facebook community. Find Us Online: Facebook: @familygamersaa and thefamilygamers.com/communityTwitter (X): @familygamersaaInstagram: @familygamersaaTikTok: @familygamersaaBluesky: @familygamersaaThreads: @familygamersaaYoutube: TheFamilyGamers or join the Family Tabletop Community on Discord! thefamilygamers.com/discord Or, for the most direct method, email us! andrew@thefamilygamers.com and anitra@thefamilygamers.com. PLEASE don’t forget to subscribe to the show, tell your friends about the show, and leave us a review at Apple Podcast or whatever your podcast subscription source is. We’re also on Amazon Music, TuneIn, and Spotify. You can also now find us on YouTube Music! So pull it up and give us a listen while you’re toiling away at work :) If you’d like to support The Family Gamers, there’s three ways to do that. First, you can pick up some sweet sweet merch: T-shirts, hoodies, mugs, and stickers! Go to store.thefamilygamers.com You can also support us on Patreon, if that’s more your speed. We have a few different support tiers from just a couple of dollars to show your appreciation – which we appreciate – up to five, ten, or even $20/month. There are all sorts of different rewards you can get, which we tried to make unique. You can see those at thefamilygamers.com/patreon. Thirdly, you can start your Amazon shopping at TheFamilyGamers website, using our Amazon affiliate link. Music for The Family Gamers Podcast is provided with permission from You Bred Raptors? The Family Gamers is sponsored by First Move Financial. Go to FirstMoveFinancial.com/familygamers to learn how the team at First Move Financial can help you pile up the victory points. The post Episode 426 – 5 Classic Books to Introduce via Games appeared first on The Family Gamers.
The Gore of Battle and the Sanctity of the Dead. Guest: Professor Emily Wilson. The Iliad features vivid and gory battle scenes that Wilson rendered by consulting with combat veterans to understand the visceral nature of death. Homeremphasizes the specific details of how each man dies, often juxtaposing the brutality of a spear through an eyeball with beautiful similes from the natural world. A major theme is the treatment of the dead; the poem views the corpse as the person, requiring those who loved the warrior to wash, wrap, and lament him. Entire books are dedicated to the struggle of reclaiming a fallen comrade's body, as desecrating a corpse is seen as the ultimate victory over an enemy. Stripping the armor from a victim serves as both an economic prize and a symbol of total dominance. While the gods like Poseidon and Hera intervene to support the Greeks, they also remain distinct from mortals by "bleeding" a substance called ichor. These divine and human elements culminate in the pivotal death of Patroclus, which shifts the direction of the entire war. 6
Mortality and the RAGE OF ACHILLES. Guest: Professor Emily Wilson. The conclusion of the Iliad explores the resolution of Achilles' rage following the death of Hector. Initially, Achilles attempts to prolong Hector's humiliation by dragging his body behind a chariot and refusing to allow a proper burial. However, the funeral games for Patroclus mark a shift toward maturity, as Achilles provides a space for competition that does not end in death. He even shows a degree of grace—or perhaps a subtle insult—by awarding Agamemnon a prize without a contest. The poem finishes with a humanitarian pause that allows the Trojans to bury Hector, bookending the story with funerals. The final voices are those of mourning women, emphasizing the shared human experience of grief and the inevitable suffering that follows war. Wilson concludes that the Iliad is fundamentally about the struggle to accept mortality, a theme that has provided comfort and insight to readers for over 2,700 years. 8
The Fall of Patroclus and the Killing Machine. Guest: Professor Emily Wilson. The turning point of the epic occurs when Patroclus enters the battle wearing Achilles' armor to deceive the Trojans and save the Greek ships. Ignoring Achilles' warning to return quickly, Patroclus is driven by a desire for honor and continues his assault until he is stripped of his armor by Apollo and killed by Hector. This loss transforms Achilles into a terrifying "killing machine" who returns to the field for vengeance. Before re-entering the fray, his mother Thetis secures new magical armor from Hephaestus, the "tech god" of fire who works with robotic assistants. Achilles' subsequent rampage is so brutal that he violates human norms by killing unarmed suppliants and clogging the river Xanthus with so many corpses that the river god himself rises in protest. The narrative reaches its climax as Hector faces Achilles alone outside the city walls. The poem suggests that without proper burial, a spirit or psyche is doomed to wander, as seen when the spirit of Patroclus visits Achilles to plead for his funeral rites. 71890
Goddesses, Trophies, and the Bond of Achilles. Guest: Professor Emily Wilson. The gods in the Iliad often represent extreme human instincts, such as Aphrodite representing lust and Ares representing aggression. These deities are sometimes depicted as ridiculous because they flee the battlefield when wounded, whereas mortals must face their pain heroically. Within the Greek camp, the social structure is built around honor and "trophies," specifically enslaved women like Briseis, who are parceled out after military victories. While Briseis has a limited voice, she is shown to have a kind relationship with Patroclus, who is described as a multi-faceted character capable of both great kindness and brutal violence. Patroclus is not a "beta male" but a skilled warrior who mocks his victims as he kills them. The bond between Achilles and Patroclus is the most intimate and emotionally vulnerable relationship in the poem. Achilles' awareness of his own impending death and the violation of his honor by Agamemnon creates a deep-seated rage that drives the central plot. 41919
Mortality and the End of the Iliad. Guest: Professor Emily Wilson. The final stages of the Iliad focus on Achilles' intense grief and the rituals surrounding death. Following the violent funeral pyre for Patroclus, Achilles organizes funeral games, which Wilson suggests represent his growing realization that all mortals are ultimately "losers" in the face of death. These games provide a new model for competition where skillful men can win prizes without the conflict ending in the destruction of society. A significant moment of reconciliation—or perhaps a "sick burn"—occurs when Achilles gives Agamemnon a prize for spear-throwing without requiring him to compete, acknowledging Agamemnon's status while potentially mocking his habit of taking things he did not earn. The poem notably concludes not with the fall of Troyor the Trojan Horse, but with the voices of three women—Andromache, Hecuba, and Helen—singing laments. Their grief highlights the future of enslavement and loss facing the survivors. This ending, marked by a humanitarian pause for Hector's funeral, underscores the poem's central theme: the universal struggle to accept human mortality. 1
***Complete our listener survey for a chance to win a $50 gift card! *** The lovesick Trojan prince Troilus is so consumed by his infatuation with Cressida that he refuses to fight in the endless Trojan war with the Greeks, lamenting his woes to Cressida's uncle, Pandarus, who serves as the go-between for the lovers. Aeneas arrives with news that Troilus's brother, Paris, has been wounded by Menalaeus in battle, persuading Troilus to rejoin the fight. Inside the Trojan Citadel, Cressida gets the gossip from her friend Alexandra before Pandarus arrives to sing Troilus's praises. Together, Pandarus and Cressida watch the Trojan warriors return from battle. Pandarus keeps heaping praise on Troilus as Cressida remains aloof, but once alone, she confesses she's only playing “hard to get” in order to keep Troilus interested. Meanwhile, in the Greek encampment outside Troy, the Generals Agamemnon, Nestor and Ulysses lament that the war has dragged on for years without victory. Ulysses blames it on a breakdown of hierarchy and order brought on by Achilles' mocking their leadership, whipping the Greeks into a frenzy of anger and frustration. The PLAY ON PODCAST SERIES, “TROILUS AND CRESSIDA”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by LILLIAN GROAG. All episodes were directed by KIM MARTIN COTTON. Radio play by CATHERINE EATON. Executive Producer: MICHAEL GOODFRIEND This podcast was recorded under a SAG-AFTRA AGREEMENT. The cast is as follows: BENJAMIN BONENFANT as TROILUS AWNI ABDI-BAHRI as CRESSIDA JAMES UDOM as ACHILLES GEOFFREY ALLEN MURPHY as AJAX STEVEN RATTAZZI as PANDARUS and MENELAUS DAISUKE TSUJI as THERSITES ANNA SUNDBERG as ALEXANDRA, CASSANDRA and HELEN NOAH KEYISHIAN as AENEAS, MARGARELON and HELENUS ROB NAGLE as AGAMEMNON LISA WOLPE as ULYSSES WAYNE T. CARR as HECTOR and CALCHAS EDWARD GERO as NESTOR and PRIAM EDDIE LOPEZ as PATROCLUS and PARIS JOHNNY WU as DIOMEDES KIM MARTIN COTTON as ANDROMOCHE Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original Music Composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). The Play On Podcast Series “TROILUS AND CRESSIDA ” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare. Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to nextchapterpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “The proud man eats himself”. Learn more about your ad choices. Visit megaphone.fm/adchoices
The war is heating up! Fires blaze and gods rage as the war exacts a mighty cost on both sides, settings us up for the beginning of the end!
Bridget, Caitlin, and Hilda discuss "Tender Cruelty," book 9 in Katee Robert's Dark Olympus series. Longtime listeners know Hilda's feelings on this series, but what do Bridget and Caitlin think? Did this book live up to what they were hoping for? Well, listen now and find out. Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe
The Iliad by Homer, Part 2 (Books 17-24)—from Patroclus's death to Achilles' rage and Priam's plea. Translated by Samuel Butler, narrated by Mark Cassidy with full subtitles.
APHRODITE, PATROCLUS, AND TROPHY WOMEN Colleague Professor Emily Wilson. Wilson examines Aphrodite's intervention on the battlefield and her representation of baser instincts like lust. The discussion shifts to Briseis, a "trophy" of war, and her relationship with Patroclus, whom Wilson refuses to classify as a "beta male" despite his kindness. Patroclus is described as a brutal killer and Achilles' closest companion. The segment highlights the emotional depth of Achilles, who displays immense vulnerability alongside his capacity for violence. NUMBER 4 500 AD AMBROSI AN ILIAD
THE DEATH OF PATROCLUS AND HECTOR Colleague Professor Emily Wilson. The tragedy culminates with Patroclus ignoring Achilles' warning, leading to his death by Hector and the loss of Achilles' armor. Wilson describes Achilles' terrifying return to battle, equipped with new armor from Hephaestus, and his slaughter of Trojans. The segment covers the final confrontation where Achilles kills Hector and, driven by vengeance, drags his body behind a chariot, denying him burial rights and intending to mutilate him forever. NUMBER 7 500 AD. MELEE.
SHOW 12-30-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR THESDHOW BEGINS WITH DOUBTS ABOUT THE PURPOSE OF WAR-MAKING AS EXPRESSED MOURNFULLY BY HECTOR'S WIFE ANDROMACHE... SHOW 12-30-25 CBS EYE ON THE WORLD WITH JOHN BATCHELOR TRANSLATION AND THE SEARCH FOR TROY Colleague Professor Emily Wilson. John Batchelor interviews Professor Emily Wilson about her new iambic pentameter translation of the Iliad. They discuss the historical location of Troy in modern Turkey and the archaeological layers discovered by Schliemann, who wrongly believed he found Agamemnon's mask. Wilson explains that while the Greeks viewed the Iliad as partly historical, it is a poetic imagining composed centuries after the events, designed for oral performance and rhythmic reading. NUMBER 1 HOMER'S NARRATIVE CHOICES AND ORAL TRADITION Colleague Professor Emily Wilson. Wilsondiscusses the "Homeric Question," noting that oral stories existed for centuries before the alphabet arrived in the 8th century BCE. She highlights the Iliad's sophisticated narrative structure, which omits famous events like the Apple of Discord and the Trojan Horse to focus intensely on a specific period of the war. The conversation compares the Iliad'sfocus on Greek infighting with Virgil's Aeneid, noting the distinct goals of each epic tradition. NUMBER 2 TRAGIC COUPLES AND DIVINE INTERVENTION Colleague Professor Emily Wilson. The segment explores key character pairings, starting with Helen's complex view of Paris and her weaving as a metaphor for the story. Wilsonanalyzes the tragic relationship between Hector and Andromache, emphasizing Hector's choice of duty over family. They discuss the gods' roles, particularly Thetis's prayer to Zeus which seals Achilles' fate, and Hera's bargaining with Zeus to ensure Troy's destruction, highlighting the interplay of divine will and mortal suffering. NUMBER 3 TRANSLATION AND THE SEARCH FOR TROY Colleague Professor Emily Wilson. John Batchelor interviews Professor Emily Wilson about her new iambic pentameter translation of the Iliad. They discuss the historical location of Troy in modern Turkey and the archaeological layers discovered by Schliemann, who wrongly believed he found Agamemnon's mask. Wilson explains that while the Greeks viewed the Iliad as partly historical, it is a poetic imagining composed centuries after the events, designed for oral performance and rhythmic reading. NUMBER 1 HOMER'S NARRATIVE CHOICES AND ORAL TRADITION Colleague Professor Emily Wilson. Wilsondiscusses the "Homeric Question," noting that oral stories existed for centuries before the alphabet arrived in the 8th century BCE. She highlights the Iliad's sophisticated narrative structure, which omits famous events like the Apple of Discord and the Trojan Horse to focus intensely on a specific period of the war. The conversation compares the Iliad'sfocus on Greek infighting with Virgil's Aeneid, noting the distinct goals of each epic tradition. NUMBER 2 TRAGIC COUPLES AND DIVINE INTERVENTION Colleague Professor Emily Wilson. The segment explores key character pairings, starting with Helen's complex view of Paris and her weaving as a metaphor for the story. Wilsonanalyzes the tragic relationship between Hector and Andromache, emphasizing Hector's choice of duty over family. They discuss the gods' roles, particularly Thetis's prayer to Zeus which seals Achilles' fate, and Hera's bargaining with Zeus to ensure Troy's destruction, highlighting the interplay of divine will and mortal suffering. NUMBER 3 APHRODITE, PATROCLUS, AND TROPHY WOMEN Colleague Professor Emily Wilson. Wilson examines Aphrodite's intervention on the battlefield and her representation of baser instincts like lust. The discussion shifts to Briseis, a "trophy" of war, and her relationship with Patroclus, whom Wilson refuses to classify as a "beta male" despite his kindness. Patroclus is described as a brutal killer and Achilles' closest companion. The segment highlights the emotional depth of Achilles, who displays immense vulnerability alongside his capacity for violence. NUMBER 4 AGAMEMNON'S FAILURE AND DIVINE POLITICS Colleague Professor Emily Wilson. This segment details the plot's catalyst: Agamemnon seizing Briseis from Achilles, causing the hero to withdraw from battle. Wilson explains the divine politics, including Hera trading three Greek cities to Zeus to ensure Troy's destruction. They analyze Agamemnon's flawed leadership; while he blames Zeus for his bad decisions, the poem portrays the immense difficulty of holding a disparate army together, leading to disastrous choices that necessitate Achilles' eventual return. NUMBER 5 THE GORE AND GLORY OF BATTLE Colleague Professor Emily Wilson. Wilson discusses translating the Iliad'svivid violence, drawing on insights from combat veterans regarding the trauma of battlefield death. A central theme is the treatment of corpses; possessing and stripping a dead enemy's armor is the ultimate sign of dominance. The conversation touches on the physical nature of the gods, who bleed "ichor" when wounded, and Poseidon's support for the Greeks in contrast to his brother Zeus. NUMBER 6 THE DEATH OF PATROCLUS AND HECTOR Colleague Professor Emily Wilson. The tragedy culminates with Patroclus ignoring Achilles' warning, leading to his death by Hector and the loss of Achilles' armor. Wilson describes Achilles' terrifying return to battle, equipped with new armor from Hephaestus, and his slaughter of Trojans. The segment covers the final confrontation where Achilles kills Hector and, driven by vengeance, drags his body behind a chariot, denying him burial rights and intending to mutilate him forever. NUMBER 7 GRIEF, GAMES, AND ACCEPTANCE Colleague Professor Emily Wilson. After Hector's death, Achilles finds a form of healing through funeral games, which offer a non-lethal model of competition. He even awards Agamemnon a prize without a contest, possibly as a slight. The poem concludes not with victory, but with a "humanitarian pause" for Hector's funeral. Wilson notes the ending focuses on women's lamentations, emphasizing the Iliad's enduring lesson on the struggle to accept human mortality. NUMBER 8 FEMALE AUTHORSHIP AND THE TROJAN WOMEN Colleague Daisy Dunn. Daisy Dunn discusses the legend of Phantasia, a rumored female source for Homer, and the myth of Leda and the Swan. She argues that the Trojan Warlikely reflects real historical conflicts at the site of Hisarlik. The segment highlights key female figures: Andromache, who offers military advice to Hector, and Briseis, the enslaved woman central to the dispute between Agamemnon and Achilles, illustrating the centrality of women to the epic. NUMBER 9 SAPPHO OF LESBOS Colleague Daisy Dunn. Dunn explores the life of Sappho, debunking myths about her appearance and suicide. She explains that Sappho was exiled due to her family's aristocratic background during a time of political revolution. The conversation covers Sappho's disapproval of her brother's relationship with the courtesan Doricha and her professional jealousy when students left her school for rivals. Weaving is presented as a metaphor for women shaping fate. NUMBER 10 ETRUSCANS AND THE WOMEN OF EARLY ROME Colleague Daisy Dunn. Dunn discusses the Etruscans, noting their advanced dentistry and the shock Greeks felt at Etruscan men and women dining together openly. Transitioning to Rome, they recount the violent founding myth of the Rape of the Sabine Women. The segment details the tragedy of Lucretia, whose rape and subsequent suicide led Brutus to overthrow the monarchy and establish the Roman Republic, making her a paragon of virtue. NUMBER 11 DIDO AND THE FOUNDING OF CARTHAGE Colleague Daisy Dunn. Dunn recounts the story of Dido, the clever founder of Carthage who tricked a local king to secure land. When Aeneas abandons her to fulfill his destiny, Didocurses him, foreshadowing the Punic Wars between Rome and Carthage. The segment explores her tragic suicide on a pyre, noting the societal judgment against her for breaking vows of celibacy, while acknowledging her capacity as a talented ruler and builder of cities. NUMBER 12 CORNELIA AND SERVILIA: MOTHERS OF ROME Colleague Daisy Dunn. This segment focuses on Cornelia, the educated "one-man woman" who raised the reforming Gracchi brothers to challenge the Roman elite. Dunn notes Cornelia's heartbreak as she tried to dissuade her second son from following his assassinated brother's path. The discussion shifts to Servilia, Caesar's long-term mistress and mother of Brutus. Servilia is depicted as a politically astute woman caught between her lover and her son, the future assassin. NUMBER 13 CLEOPATRA AND CAESAR Colleague Daisy Dunn. Dunn describes Cleopatra's dramatic entrance from a rug to meet Caesar and secure her rule in Egypt. Despite her intelligence and linguistic skills, the Romans viewed her with suspicion and distaste, labeling her a "whore queen." Dunn challenges the Hollywood image of Cleopatra's beauty, noting coin portraits show a hooked nose, and argues her power lay in her charisma and voice. She remains a figure of admiration today. NUMBER 14 ANTONY, FULVIA, AND CLEOPATRA'S END Colleague Daisy Dunn. The conversation turns to Mark Antony'sunpopular affair with Cleopatra and his wife Fulvia, who instigated a war in Italy to counter Octavian. Dunn highlights the Roman propensity for public emotion and early marriage. Following Antony's botched suicide, Cleopatra takes her own life to avoid being paraded as a trophy by Octavian. Dunn suggests the "asp" story might be a myth covering a lethal injection or poison. NUMBER 15 THE WOMEN OF THE JULIO-CLAUDIAN DYNASTY Colleague Daisy Dunn. Dunn profiles the powerful women of the Julio-Claudian dynasty. Livia is portrayed as Augustus's essential political partner and diplomat. The segment covers the tragic life of Julia, the lechery of Caligula, and the notorious reputation of Messalina. Finally, Agrippina the Younger is described as a co-emperor to her son Nero before he turned against her. Dunn concludes that Roman politics were bloodier but more politically savvy than the Greeks. NUMBER 16
I12R Iliad Patroclus meets his fate, Greek mythology remake asmr soft spoken story
I11R Iliad Patroclus in disguise, Greek mythology remake asmr soft spoken story
The Death of Patroclus and Achilles' Vengeance: Colleague Emily Wilson examines the climax, starting with Patroclus's fatal decision to fight and his death, describing Achilles' return to battle with Hephaestus-forged armor, his terrifying slaughter that clogs the river god, and his vengeful dragging of Hector's body, driven by an insatiable desire to inflict humiliation and process loss. UNDATED HELEN OF TROY
Gods, Warriors, and the Brutality of Patroclus: Colleague Emily Wilson discusses the gods' involvement, specifically Aphrodite and Ares representing base instincts on the battlefield, characterizing Patroclus not merely as gentle but as a brutal warrior, also examining the status of enslaved women like Briseis and the deep intimacy between Achilles and his companion Patroclus. 1599 ARMS FOR ACHILLES
The guys are discussing Patroclus' early life in the first week of their new book, The Song of Achilles by Madeline Miller. Rate Us ⭐⭐⭐⭐⭐ on Apple Podcasts! Connect With The Show: Follow Us On Instagram Follow Us On Twitter Follow Us On TikTok Visit Us On The Web
Welcome to the "Cosmic Check-In" Podcast with your host and Astrologer Hannah from Hannah's Elsewhere. Join me in this episode as we explore Patroclus in Astrology!Hannah's big 3 is Aqua Sun, Aries Moon & Virgo Rising. With a passion for sharing all things astrology, Hannah prefers to provide practical applications. She also explores the bigger picture and her own experiences. In Human Design, she is a 1/3 Emotional Authority Projector, making her guidance unique with plenty of research in her tool kit. Let's connect✨YouTube - https://youtube.com/@hannahselsewhere?si=EcsmrtPQDbcwiwWjInstagram - https://www.instagram.com/hannahselsewhere/Book a Reading - https://www.hannahselsewhere.com/services/
8/8. The tragic death of Patroclus is a pivotal moment in The Iliad, rendered intensely by Professor Emily Wilson. Despite Achilles's warning, Patroclus, wearing Achilles's armor, pushes too far and is killed by Hector, with Apollo's intervention. This event unleashes Achilles's terrifying rage, propelling him back into battle in new, divine armor crafted by Hephaestus. Achilles's subsequent, relentless slaughter, even against the river god, is driven by his all-consuming quest to avenge Patroclus, culminating in the brutal confrontation with Hector. 1600 HECTOR
5/8. After the death of Patroclus, Achilles undergoes a transformation in The Iliad, as translated by Professor Emily Wilson. Initially expressing rage through the violent sacrifice of Trojan youths at Patroclus's funeral pyre, Achilles later organizes funeral games. These games, with prizes for all participants and no deaths over competition, offer a new model for how men's competitiveness could coexist without societal destruction. His act of giving Agamemnon a prize without contest can be read as gracious maturity or a "sick burn".
In Part 1 of our discussion on Homer's Iliad, we welcome translator Emily Wilson to discuss Homer's life as an "author," the meaning of free will in the context of intervention from gods, and how the relationship between Achilles and Patroclus shapes the climax of the epic. Emily Wilson is a professor of classical studies at the University of Pennsylvania. She has been named a Fellow of the American Academy in Rome in Renaissance and early modern studies, a MacArthur Fellow, and a Guggenheim Fellow. In addition to Homer's Iliad and Odyssey, she has also published translations of Sophocles, Euripides, and Seneca. She lives in Philadelphia.To learn more or purchase a copy of the Norton Library edition of The Iliad, go to https://wwnorton.com/books/9781324102076. Learn more about the Norton Library series at https://wwnorton.com/norton-library.Have questions or suggestions for the podcast? Email us at nortonlibrary@wwnorton.com or find us on Twitter at @TNL_WWN and Bluesky at @nortonlibrary.bsky.social.
Why do bottoms always die in Greek mythology?If you're a fan of Greek myth, you know the gods love to act like humans: they love, they fuck, they fight...they throw dinner parties.But they also love to kill us. When gods show up on Earth, it typically means someone's about to get pregnant or dead, real quick. (Or both.)And the pattern holds for the gay Greek myths. (With admittedly fewer pregnancies carried to term.)Zeus and Apollo never seem able to keep their mortal boyfriends alive, while demigods like Herakles and Achilles also find it tricky to maintain their lovers' pulses.Why is this? What's going on psychologically, historically, narratively, and yes, erotically, when the ancients were sang of so much LITERAL twink death in their myths?Join Bash and Liv Albert, renowned Greek myth expert and host of the Let's Talk About Myths, Baby! podcast this week as they discuss:Herakles and Hylas being afraid of women (and the bottomless depths of ancient Greek misogyny)Apollo, the god of being a total DICK all the time, and Hyacinth, a beautiful youth slain in a totally avoidable "frisbee tragedy"Achilles and Patroclus, the famed comrades-at-arms, who die for one another in most toxic fashionYou can follow Historical Homos for more on our Instagram and TikTok, and you should sign up to our newsletter too, if you care about gay people at all.Written and hosted by Bash. Guest host: Liv Albert. Edited by Alex Toskas. Produced by Dani Henion.
“I'll tell you a secret. Something they don't teach you in your temple. The Gods envy us. They envy us because we're mortal, because any moment might be our last.” We watched Wolfgang Peterson's sword and sandal epic ‘Troy' with our friend Chris Cirigliano. Based on Homer's the Iliad , this summer blockbuster had many turning their nose up at its historical inaccuracies and poor adaptation of the epic poem. There are no Gods, or Mount Olympus to be found here, but what it does have is a beefed-up Brad Pitt with bleach-blonde highlights. We talk about the wave of historical epics to follow Gladiator and if Troy exactly holds up as being one of the better ones. Would adding more camp or fantastical elements have helped its material? And more importantly, what are we to make of its ‘no homo' approach to cutting out the Achilles and Patroclus relationship? According to what we see portrayed here, history will say they were good friends. At a butt-numbing 196 minutes, it's one of the longest movies ever reviewed for the podcast. Thanks for listening and don't forget to subscribe, rate and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Bluesky: @MTMUGPod.bsky.social Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna
WAR! The boys met several women, one of them dies, and one of them comes on to Patroclus. They also begin to show some personality, finding enjoyable hobbies and really growing into the prime of their adulthood during the world's most nonsensical war since the Australians declared war on emus. Check it out! Bonus Episodes and more available on Patreon Hosted on Acast. See acast.com/privacy for more information.
For this week's Greek tragedy, we learn how a Locked Tomb character got their name, both Achilles and Patroclus get laid, we finally meet Odysseus again, and the boys go off to war.Next time: Chapters 17-24 Bonus Episodes and more available on Patreon Hosted on Acast. See acast.com/privacy for more information.
We're going Greek with the first episode of Song of Achilles! Join us as Patroclus proposes marriage, participates in an oath, eats some figs, eats more figs, and rides a hairy buff man.Our audio was a disaster this week and it wasn't caught til after the fact. Uh, sorry. I won't mind if you skip.Next week: Chapters 9-16 Bonus Episodes and more available on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this week's episode of The Learning Curve, co-hosts Alisha Searcy and Dr. Helen Baxendale interview Robin Lane Fox, distinguished classicist and Emeritus Fellow at Oxford. Prof. Lane Fox offers profound insights into Homer's Iliad and its enduring significance. He explores the epic's historical and literary context, from its roots in oral tradition to its lasting influence on Western culture. Additionally, he discusses key figures like Achilles, Hector, and Helen, the interplay between mortals and gods, and pivotal moments such as Patroclus's death and Hector's farewell. Lane Fox also examines the Iliad's connection to the Odyssey and its timeless themes of heroism, fate, and war, making a compelling case for its relevance today. In closing, he reads a passage from the end of the Iliad.
Join Bridget, Caitlin, and Hilda to learn all about "Dark Restraint," book 7 in Katee Robert's Dark Olympus series. Now let's be honest, you're probably in one of two camps: You may hate this series as much as Hilda does, but you still have FOMO and want to know why Circe has such nefarious plans or you may love the smut the way Bridget and Caitlin do and wish the plot didn't get in the way. Regardless of where you stand, listen now to get all the info. Join our Patreon for exclusive behind-the-scenes content and let's be friends!Instagram > @Booktokmademe_podTikTok > @BooktokMadeMe
Sing, goddess, of the creativity of Madeline Miller, author of The Song of Achilles. This romance/war history deftly combines the existing canon of Greek epic and myth with a moving story about young Patroclus and his love Achilles. We read a lot of myth this year (including The Iliad) so we have a lot of feelings!This episode is sponsored by Aura Frames and Brew Book Candle.Our theme music was composed by Nick Lerangis.Follow @overduepod on Instagram and BlueskyAdvertise on OverdueSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
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
Dcn. Harrison Garlick and Adam Minihan are joined by Alec Bianco of the Circe Institute to discuss Book Fourteen of the Odyssey: The Loyal Swineherd. Check out thegreatbookspodcast.com for more!From our guide:77. What happens in book fourteen?Odysseus, disguised as an old beggar, makes his way to the home of his loyal swineherd, Eumaeus (14.32). Odysseus is welcomed warmly, as the swineherd reiterates that “every stranger and beggar comes from Zeus” (14.66). The swineherd shows great affection for his king that sailed away for Troy, but believes he is now most likely dead (14.155). Odysseus the beggar swears by the “table of hospitality” of the swineherd that “Odysseus will return” (14.189). Odysseus then fabricates a long backstory about how he was a soldier at Troy (14.270), and how he came to hear news of Odysseus' return (14.363). The swineherd tells Odysseus the beggar to not try and “charm” him with lies (14.438). Odysseus pushes back and says the swineherd can toss him off a cliff if Odysseus does not return, but the swineherd remains skeptical (14.451). The book ends with Odysseus testing the hospitality of the swineherd, but the swineherd remains a gracious host and makes a warm bed for Odysseus by the fire (14.585).78. What should be observed about the Swineherd?Eumaeus is a slave and swineherd whose name means “seek after the good.” He demonstrates a remarkable fondness and loyalty toward his king, Odysseus (14.44). Notably, Homer again shifts into second person when speaking of Eumaeus, as he did for Patroclus in the Iliad (14.63). He is an exemplar of guest-friendship (14.66) and displays an intimate knowledge of his master's goods (14.115). His epithet “foremen of men” refers to his role overseeing the swineherds, but it may also be a reflection on the quality of his character.The Swineherd gives us an insight into how Odysseus the King treated his subjects, which raises an arguably contrast to how Odysseus treated his men on the journey home (14.159). Quite notably, the Swineherd seems to be somewhat resistant to Odysseus' rhetoric (lies) or at least suspect of it (14.411, 438 His reply to Odysseus' rhetoric is arguably one of the first examples of sarcasm in ancient literature (14.453). The Swineherd also displays a notable piety, as he makes three distinct pious gestures before the feast (14.479). There is always much speculation about whether the Swineherd recognizes or at least suspects Odysseus the beggar's true identity (14.502).Our Year with Homer continues!
IRON WAS AN UNINTENDED RESULT OF TRADE STRANGULATION: 2/8: After 1177 B.C.: The Survival of Civilizations by Eric H. Cline (Author) https://www.amazon.ca/After-1177-B-C-Survival-Civilizations/dp/0691192138 At the end of the acclaimed history 1177 B.C., many of the Late Bronze Age civilizations of the Aegean and Eastern Mediterranean lay in ruins, undone by invasion, revolt, natural disasters, famine, and the demise of international trade. An interconnected world that had boasted major empires and societies, relative peace, robust commerce, and monumental architecture was lost and the so-called First Dark Age had begun. Now, in After 1177 B.C., Eric Cline tells the compelling story of what happened next, over four centuries, across the Aegean and Eastern Mediterranean world. It is a story of resilience, transformation, and success, as well as failures, in an age of chaos and reconfiguration. 1715 PATROCLUS
PREVIEW: ILIAD: Comment by Professor Emily Wilson on her new translation of the Iliad regarding the battle scenes filled with gore and corpses that are rendered poetically natural and metaphorical by Homer. More tonight. 1715 Death of Patroclus
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 15-19Episode 7: Things start heating up in books 15 and 16, as Achilles finally sort of acknowledges that there's a war on and Patroclus rides out to meet his fate. Episode 8: Now that we've bid Patroclus goodbye, it's time to fight over his body! The Trojans and Greeks scramble to control the fallen hero and the borrowed armor he wore. Achilles is heartbroken at the news and resolves to enact revenge. His mom overnights him some dope armor. Some horses cry and then give Achillies lip.Find out more about how to get longread 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.
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.
Fall is in the air, which means the time has come for us to close out our study of the Iliad. From book 16 to the end in book 24, the poem engages in what remains one of the most enduring subtle studies of rage, war, grief, and even PTSD that the human mind has ever produced. It shows us the roots of all tragedy in our own lives and throughout history, leaving the stage set for a new adventure in the Odyssey. Which we'll pick up next week! Pre-order my new book, Light of the Mind, Light of the World: https://a.co/d/2QccOfM Subscribe to my joint Substack with Andrew Klavan (no relation): https://thenewjerusalem.substack.com Subscribe to be in the mailbag: https://rejoiceevermore.substack.com Alice Oswald, Memorial: https://a.co/d/dcToGpW Christopher Logue, War Music: https://a.co/d/fF2eVnb Jonathan Shay, Achilles in Vietnam: https://a.co/d/3Jo7LpD Books of Titans: https://podcasts.apple.com/us/podcast/books-of-titans-podcast/id1237365806
WITHOUT THE TR0JAN HORSE YARN, FUTILITY OF WAR: 2/8: The Iliad by Homer (Author), Emily Wilson (Translator) https://www.amazon.com/Iliad-Homer/dp/1324001 The Iliad roars with the clamor of arms, the bellowing boasts of victors, the fury and grief of loss, and the anguished cries of dying men. It sings, too, of the sublime magnitude of the world―the fierce beauty of nature and the gods' grand schemes beyond the ken of mortals. In Wilson's hands, this thrilling, magical, and often horrifying tale now gallops at a pace befitting its legendary battle scenes, in crisp but resonant language that evokes the poem's deep pathos and reveals palpably real, even “complicated,” characters―both human and divine. The culmination of a decade of intense engagement with antiquity's most surpassingly beautiful and emotionally complex poetry, Wilson's Iliad now gives us a complete Homer for our generation.5 maps 1715 PATROCLUS
In this episode of the Ultraculture podcast, Jason Louv is joined by P. D. Newman, an expert in the fields of alchemy, Hermeticism, and theurgy, with over two decades of immersion in these esoteric traditions. Newman shares insights from his latest work, a profound exploration into the ancient practice of theurgy, tracing its origins beyond the commonly acknowledged timeframe back to the era of Homer. He highlights how theurgy, a magical practice aimed at divinizing the soul for mystical union with the divine, shares roots with shamanic soul flight practices and was articulated in the epic meter of Homeric Greek. Newman delves into the theurgic themes present in the Odyssey and the Iliad, such as Odysseus's journey to Hades and the funeral pyre of Patroclus, showcasing the interconnectedness of Greek shamanic practices and theurgical rites. He also discusses the significant contributions of Neoplatonists like Porphyry and Proclus, who described theurgy using Homeric terms and linked it to broader philosophical and ritual contexts. Through a detailed analysis of telestikē, the theurgic technique of statue animation, and the divinization of the soul, Newman illustrates the ancient and complex nature of these practices, connecting them to Egyptian and Greek traditions. His study not only sheds light on the philosophical underpinnings of theurgy but also provides a rare glimpse into the actual ritual practices of ancient theurgists. This is an EXCELLENT and very unexpected show that goes on some very, very, very interesting tangents. You're going to love it. Show Notes P. D. Newman: Theurgy: Theory and Practice Magick.Me's latest longform YouTube: Top Three Tricks Every Magick Practitioner MUST Know. Like and subscribe, we want to release YouTubes as often as podcasts! Magick.Me
In this episode of the Ultraculture podcast, Jason Louv is joined by P. D. Newman, an expert in the fields of alchemy, Hermeticism, and theurgy, with over two decades of immersion in these esoteric traditions. Newman shares insights from his latest work, a profound exploration into the ancient practice of theurgy, tracing its origins beyond the commonly acknowledged timeframe back to the era of Homer. He highlights how theurgy, a magical practice aimed at divinizing the soul for mystical union with the divine, shares roots with shamanic soul flight practices and was articulated in the epic meter of Homeric Greek. Newman delves into the theurgic themes present in the Odyssey and the Iliad, such as Odysseus's journey to Hades and the funeral pyre of Patroclus, showcasing the interconnectedness of Greek shamanic practices and theurgical rites. He also discusses the significant contributions of Neoplatonists like Porphyry and Proclus, who described theurgy using Homeric terms and linked it to broader philosophical and ritual contexts. Through a detailed analysis of telestikē, the theurgic technique of statue animation, and the divinization of the soul, Newman illustrates the ancient and complex nature of these practices, connecting them to Egyptian and Greek traditions. His study not only sheds light on the philosophical underpinnings of theurgy but also provides a rare glimpse into the actual ritual practices of ancient theurgists. This is an EXCELLENT and very unexpected show that goes on some very, very, very interesting tangents. You're going to love it. Show Notes P. D. Newman: Theurgy: Theory and Practice Magick.Me's latest longform YouTube: Top Three Tricks Every Magick Practitioner MUST Know. Like and subscribe, we want to release YouTubes as often as podcasts! Magick.Me
3/8: The Iliad Hardcover – September 26, 2023 by Homer (Author), Emily Wilson (Translator) 1899 Trpjan War (fighting over Patroclus's corpse).
This week, Dana and Stephen are joined by Supreme Friend of the Pod, Isaac Butler, who co-hosts Slate's Working podcast and is the author of The Method: How the Twentieth Century Learned to Act (which is now available in paperback!). The panel begins by pondering Dream Scenario, a provocative new film from Norwegian writer-director Kristoffer Borgli. The nightmarish social satire stars Nicolas Cage as Paul Matthews, a hapless middle-aged biology professor who begins appearing randomly in people's dreams in a tale about anonymity and the cycle of virality. Then, the three speak with the brilliant author and classicist Emily Wilson about her recent translation of Homer's the Iliad, and her unique approach to metered verse and how she came to access the interior lives of Hector, Patroclus, Achilles, and more. Finally, the trio discusses Coyote vs. Acme, a completed film based on Ian Frazier's 1990 comic in The New Yorker, that was shelved last week by Warner Bros. (reportedly in favor of a $30 million tax write-off) then un-shelved when the studio received backlash for being “anti-art.” In the exclusive Slate Plus segment, the panel descends into a different kind of nightmare: The Beatles' music video for “Now and Then.” Has director Peter Jackson created a touching CGI tribute to the legendary band? Or has he engineered something truly evil? Email us at culturefest@slate.com. Endorsements: Dana: The Public Domain Review, an online journal and not-for-profit project dedicated to “the exploration of curious and compelling works from the history of art, literature, and ideas.” She's only just begun to scratch the site's surface, but recommends starting with “W.E.B. Du Bois' Hand-Drawn Infographics of African-American Life.” Isaac: Deadloch, an Australian feminist noir comedy set in a fictional working class fishing village that's been, as he describes, “gentrified by the most granola crunchy lesbians on earth.” Stephen: The song “New Romantic” by British folk singer-songwriter Laura Marling, specifically her extraordinary 2006 live performance of it when she was quite young at a now-closed music venue in West London. Outro music: “Any Other Way” by Particle House Podcast production by Cameron Drews. Production assistance by Kat Hong. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices
This episode contains themes of a sexual natureAchilles is one of the greatest heroes in Greek mythology. The son of Peleus, a Greek King, and Thetis, a divine sea nymph, Achilles was a demigod with extraordinary strength and courage. The perfect combination to make a great warrior, he is perhaps best known from Homer's epic poem the Iliad, which details his adventures in the final year of the Trojan War.He's also gone down in history for his passionate love for his companion, Patroclus. Sources and mythology differ as to the nature of their relationship, and in this episode, we ask the question: was it really erotic? What do the sources say? Does our definition of love differ from that of the Ancient Greeks? And, how did it inspire one of the greatest military generals in history: Alexander of Macedon?To help explore these themes, host Tristan Hughes is joined by returning guest Professor Alastair Blanshard from the University of Queensland.Voiceover: Lucy DavidsonScript Writer: Andrew HulseEditor: Aidan LonerganAssistant Producer: Annie ColoeSenior Producer: Elena GuthrieDiscover the past on History Hit with ad-free original podcasts and documentaries released weekly presented by world-renowned historians like Dan Snow, Suzannah Lipscomb, Lucy Worsley, Matt Lewis, Tristan Hughes and more. Get 50% off your first 3 months with code DANSNOW. Download the app or sign up here.PLEASE VOTE HERE for Dan Snow's History Hit in the 'Best Individual Episode - History' category for the 2023 Signal Awards. Every vote counts, thank you!We'd love to hear from you! You can email the podcast at ds.hh@historyhit.com.You can take part in our listener survey here.
Melvyn Bragg and guests discuss the great epic poem attributed to Homer, telling the story of an intense episode in the Trojan War. It is framed by the wrath of the Greek hero Achilles, insulted by his leader Agamemnon and withdrawing from the battle that continued to rage, only returning when his close friend Patroclus is killed by the Trojan hero Hector. Achilles turns his anger from Agamemnon to Hector and the fated destruction of Troy comes ever closer. With Edith Hall Professor of Classics at King's College London Barbara Graziosi Professor of Classics at Princeton University And Paul Cartledge A.G. Leventis Senior Research Fellow and Emeritus Professor of Greek Culture at Clare College, Cambridge Producer: Simon Tillotson.
Let's Talk About Myths, Baby! Greek & Roman Mythology Retold
Liv speaks with PhD student Charlotte Gregory about all things Achilles and Patroclus, their relationship, and how modern Classical reception depicts their love, cousin or otherwise. Follow Charlotte on Twitter. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content! CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.
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