Podcasts about Priam

It's been a long time in the making, but we finally get the fight between Achilles and Hector. Tune in for Priam and Hecabe trying to make their son see reason, a surprise cameo from Eddie Redmayne and how not to be respectful to your enemy's corpse...Sources for this episode:Homer (1965), The Iliad. Translated by E. V. Rieu. Harmondsworth; Penguin Books Ltd.

We journey through the different eras and incarnations of Troy as archaeologists have reconstructed them from the excavations at Hissarlik. We then explore the surviving evidence -- including linguistic theories, newly discovered tablets from the ancient Hittite capital, and the long-lost and rediscovered "Priam's Treasure" that Schliemann unearthed-- to form a picture of who the Trojans were and what sort of city they created in the Bronze Age world. Image: Gold jewels & vessels from "Priam's Treasure" as displayed at the Pushkin State Museum of Fine Arts, Moscow, 1990s. Music: "Les Cyclopes," by Rameau, performed by Paul Barton & published by Feurich Further Reading: Tolstikov & Treister, “The Gold of Troy”; Allen, “Finding the Walls of Troy”; Traill, “Schliemann of Troy”; Moorehead, “Lost and Found: the 9,000 Treasures of Troy”; McCarty, “Troy: The Myth and Reality Behind the Epic Legend”; Gainsford, Kiwi Hellenist blog, “The Trojan War #3: Bronze Age Evidence,” ; Fitton & Villing, British Museum blog, “The Search for the Lost City of Troy,” Please sign up as a patron at any level, to hear patron-only lectures, including on the Dead Sea Scrolls -- https://www.patreon.com/c/user?u=5530632

Cw: implications of suicide, death,  Hugo starts us off with some equal opportunity foot fetish, the return of a knob, and Javert and Valjean meet again in filthy circumstances. Javert and Valjean have a tense cab ride around town, Marius narrowly escapes becoming the protagonist of a different musical and if an old man can change, then so can other people. I talk about Nestor. It's not Nestor, it's Priam. War and Peace Daily    This podcast was produced by Nemo Martin. The audio direction and intro composing is by JDWasabi. It is a Captain's Collection Creation. Bread & Barricades (@LesMisPodcast) | Twitter Bread & Barricades | Tumblr Ko-fi: https://ko-fi.com/lesmispodcast  Patreon: https://www.patreon.com/LesMisPodcast

It is one of the foundational achievements of archaeology, and one of the most momentous discoveries ever made in any field -- We follow the long debate over whether and where the remains of the ancient legendary city of Troy could be found, and we see how the mystery was solved by the excavations overseen by the brilliant, ruthless, and indefatigable German businessman, explorer, and serial liar, Heinrich Schliemann. Pt. 2 will examine how modern scholars and excavators have used the finds from the site in Turkey -- including the long lost priceless "Treasure of Priam" -- to reconstruct the city and its place in the Bronze-Age world. Music: "Les Cyclopes" by Jean-Philippe Rameau, played on piano by Paul Barton, and published by Feurich Piano. Image: Sophia Schliemann posing in a gold diadem, necklace, and earrings from Troy 2, dubbed "The Jewels of Helen," 1873-4. Please sign up as a patron to hear all patron-only lectures, including the previous "Doorways in Time" on the Dead Sea Scrolls -- https://www.patreon.com/c/user?u=5530632

À l'occasion de la sortie de son livre La Légende Xenoblade, nous recevons ce mois-ci Jérémie Priam !Au programme :

Sound Teams est un podcast de Third Éditions qui décrypte la musique de jeu vidéo. Ce vingt-troisième numéro s'intéresse à la musique de la trilogie Xenoblade.Les bandes-originales de la trilogie Xenoblade font clairement partie des plus impressionnantes de la sphère du J-RPG, notamment à partir du deuxième épisode, où les moyens déployés ont été colossaux pour offrir aux musiques une qualité de production éclatante. Ces OST regorgent de morceaux mémorables, aux couleurs variées et aux émotions profondes. Comment les différentes esthétiques musicales de la trilogie se sont construites et ont évolué au fil des épisodes ? Pour y répondre, Damien Mecheri reçoit le compositeur et sound designer Julien Goyon, ainsi que Jérémie Priam, l'auteur de notre ouvrage La Légende Xenoblade.Au sommaire de ce numéro : - 00:00 | Introduction- 03:15 | La contre-vérité : Yasunori Mitsuda est-il le compositeur attitré de Xenoblade ?- 06:20 | Les coulisses de la musique des Xenoblade- 24:50 | À la bouche : les musiques données en exemple par Takahashi- 29:20 | Musiques d'exploration et musiques de combat- 01:14:20 | Les recommandations- 01:17:20 | La narration musicale : l'accompagnement des cutscenes- 01:55:21 | L'actualité de ThirdN'hésitez pas à nous faire part de vos retours en commentaire et à noter le podcast !Générique composé par Hiroki Kikuta

We return to Wolfgang Petersen's Troy: Director's Cut 20 years after its initial release and discover a film that's aged surprisingly well. Featuring an incredible cast including Brad Pitt, Eric Bana, Peter O'Toole, Sean Bean, Brian Cox, Brendan Gleeson, and Orlando Bloom, Troy is carried by the actors' strong performances. While not strictly true to the Iliad, Troy's daring attempt to place the Trojan War on film deserves praise, as do the incredible combat and battle sequences. While the quality is incredibly uneven and varies scene-to-scene, our hosts are willing to cope with the awful Achilles-Briseis romantic arc to enjoy the well-told stories of Hector and Priam. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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The secondborn son of Priam and Hecabe was already making a big splash before he was born- and well before he swooped on a woman called Helen. There's not many of us who get a prophecy about our destructive legacy- or who get confused with a major European city... Sources for this episode: Frazer, J. G. (1921), Apollodorus: The Library (Volume II). London: William Heinemann. Graves, R. (1981), Greek Myths: Illustrated Edition. London: Cassell Ltd. Ovid (1914), Heroides and Amores. Translated by G. Showerman. London and New York: William Heinemann and The Macmillan Co. Smith; W. (ed.) (1867), Dictionary of Greek and Roman Biography and Mythology. In Three Volumes (Vol. 1-3.). Boston: Little, Brown, And Company. Wilkinson, P., Carroll, G., Faulkner, M., Field, J. F., Haywood, J., Kerrigan, M., Philip, N., Pumphrey, N. and Tocino-Smith, J. (2018), The Mythology Book. London: Dorling Kindersley Limited. Author unknown, Merriam Webster (date unknown), What is a 'Firebrand?' (online) (Accessed 10/11/2024). Author unknown, Wikipedia (date unknown), Heroides (online) (Accessed 10/11/2024).

Le PTIT BURO, l'émission rugby sur TWITCH, tous les lundis à 18h !Nouvelle rubrique en fin d'émission, on crée les transferts les plus improbable en jouant à Mr l'Agent !Le BUS du TOP14 de la 5ème journée.Dans les NEWS : L'histoire d'un MATCH incroyable !DEBAT sur les règles de la FFR pour encadrer le comportement des joueurs. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Conférence par Ivan Vérité, historien et romancier.Enregistré le 17 novembre 2023, Espace Vollon Lyon.Souvent associé uniquement comme « l'ennemi d'Achille », Hector est un personnage beaucoup plus profond. Il incarne la tragédie de la guerre, et la noblesse humaine, il est le guerrier qui ne désire pas la guerre, et accepte la mort si celle-ci est le prix pour protéger sa communauté. Dans cet épique où on accompagne le regard des dieux et ses enfants, Hector nous permet d'analyser la guerre de Troie par le regard d'un humain.En se basant des analyses faites par Jacqueline de Romilly dans son livre Hector, Junito de Souza Brandão dans sa trilogie « Mythologie grecque » et « L'Univers, les dieux, les hommes » par Jean-Pierre Vernant, Ivan Vérité présente l'Illiade d'Homère par le point de vue d'Hector.******Saviez vous que Nouvelle Acropole est réalisée à 100% par des bénévoles ? Nous dépendons donc beaucoup de nos étudiants et amis pour la divulgation !N'oubliez pas de vous abonner à la chaîne et si possible de la partager sur vos réseaux sociaux. Ce sera d'une grande aide !

Retrouvez l'émission en direct tous les lundis sur Twitch. LA GRANDE PREVIEW du TOP14 !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

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Vous avez peut-être étudié l'Iliade et l'Odyssée d'Homère à l'école ou vu le film "Troie" avec Brad Pitt, Lorànt Deutsch nous raconte comment le 14 juin 1873, l'allemand Schliemann a cru découvrir le Trésor du Roi des Troyens. Du lundi au vendredi, Lorànt Deutsch vous donne rendez-vous dans la matinale de RTL. Chaque jour, l'animateur de "Entrez dans l'histoire" revient sur ces grands moments qui ont façonné notre pays.

“It is to be expected, then, that we do not say that either a cow or a horse or any other animal is at all happy, for none of them are able to share in such an activity.It is because of this too that a child is not happy either: he is not yet apt to do such things, on account of his age. …As we said, both complete virtue and a complete life are required: many reversals and all manner of fortune arise in the course of life, and it is possible for someone who is particularly thriving to encounter great disasters in old age, just as the myth is told about Priam in the Trojan tales.Nobody deems happy someone who deals with fortunes of that sort and comes to a wretched end.” (Nicomachean Ethics, I.9) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit figsinwinter.substack.com/subscribe

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

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Late Nights at Blockbuster Our latest Late Nights at Blockbuster is on the 20th anniversary of Troy. Brad Pitt doesn't say great things about this movie and sometimes we don't either. We talk plenty about the nonsense that Priam participated in to further the plot of this movie. Sorry if you are an Eric Bana apologist, we don't go in on him but we gift him one of our awards that you don't want. We have the same Orlando Bloom conversation that we have every time he shows up in a movie. We're sorry, we realized it as we were finishing it, we're moving on and we'll do better next time.  Intro/Outro music by friend of the podcast Seth Gilbertson. Find more music at iTunes (⁠https://music.apple.com/us/artist/seth-gilbertson/1155231950⁠) and YouTube (⁠https://www.youtube.com/user/sethgilbertson/videos⁠)

Dcn. Harrison Garlick and Adam Minihan discuss Book 22 on the Death of Hector. “There are no binding oaths between men and lions—wolves and lambs can enjoy no meeting of the minds—they are all bent on hating each other to death.” Achilles (22.310). 97. What happens in book twenty-two? The Trojans scurry back into the city like “panicked fawns,” while Hector remains outside the walls (22.05). Apollo, who had taken the form of a Trojan soldier to make Achilles chase him, reveals his trickery to Achilles (22.09)—and Achilles turns back to the city (22.26). Despite the pleas of Priam (22.31) and Hecuba (22.93), Hector remains outside the walls “nursing his quenchless fury” (22.115). As Achilles approaches, Hector's courage fails, and he begins to run around the walls of Troy with Achilles in pursuit (22.163). Zeus' “heart grieves for Hector,” (22.202), but he gives permission to Athena to do as she wills (22.220). Hector tries to enter the city, but Achilles thwarts him (22.234). Achilles also holds back the Achaean army, now observing the chase, from intervening (22.245). Zeus once again holds out his golden scales, and fate elects that it is time for Hector to die (22.249).Athena takes on the form of Deiphobus, brother of Hector, and convinces Hector to stand together and fight Achilles (22.271). Hector faces Achilles and tries to make a pact that the victor will not mutilate the corpse of the fallen but give it to his people for burial (22.301). Achilles rejects this offer, stating: “There are no binding oaths between men and lions—wolves and lambs can enjoy no meeting of the minds—they are all bent on hating each other to death” (22.310). Hector and Achilles clash in combat, and Hector calls to his brother, Deiphobus, for help—but there is no answer (22.347). Hector realizes the gods have tricked him and that his time has come (22.350). He elects to die in glory, and he charges Achilles (22.359). Achilles strikes down Hector and tells him: “The dogs and birds will maul you” (22.395). Hector pleads to be given to his people, but Achilles rejects him saying: “My fury would drive me now to hack your flesh away and eat you raw” (22.408). Hector prophesies that “Paris and Lord Apollo” will strike down Achilles outside of Troy (22.423). Hector dies (22.425). The Achaeans all stab his body (22.437), and Achilles drags it behind his chariot (22.466). Priam and Hecuba cry out for their son (22.478), and Andromache “bursts out in grief” (22.560). The book ends with Andromache lamenting the impending fate of her son, Astyanax, the little “Lord of the City” (22.569). 98. What structure does piety give the death of Hector?Previously, Hector's return to Troy provided an insight into the ancient threefold notion of piety: gratitude toward the gods, the city, and the family. It is a gratitude that precipitates a sense of duty. The threefold notion of piety—which is in a hierarchal order—appears to provide a certain infrastructure (and tension) to the narrative around Hector's death. For example, Hector disregards the appeals of his parents, Priam (22.32) and Hecuba (22.93), to retreat to the walls of Troy presumably due to his duty to defend Troy (22.129). Hector's piety toward the gods is praised by Zeus in the same conversation in which the son of Cronus orchestrates his death (22.129). It is notable the deception of Hector comes through his comradery toward another soldier of Troy and a familial relation, his brother (22.270). It further raises the question that for all Hector's piety toward Troy, no one seems interested in helping him. Hector, who is...

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Dcn. Harrison Garlick and Adam Minihan discuss Book 20 of the Iliad: The Olympian Gods in ArmsSummary of the narrativeWhat is Aeneas special?Some details others often overlookCheck out our GUIDE TO THE ILIAD. “Aeneas will rule the men of Troy in power—his son's sons and the sons born in future years.” Poseidon (20.355). 90. What happens in book twenty?Zeus calls the gods to council and tells them that they may now aide whatever side they wish—the strict decree to not intervene is over (20.29). And why does Zeus do this? He states: “I fear [Achilles will] raze the walls against the will of fate” (20.36). As such, Hera, Athena, Poseidon, and Hermes go to the Achaeans, and Ares, Apollo, Artemis, Leto, Xanthus, and Aphrodite go to the Trojans (20.40).[1] The gods clash in an apocalyptic war (20.80). Achilles searches for Hector, but Apollo convinces Aeneas to duel him (20.99). Poseidon convinces the gods of a truce, and the immortals line the battlefield to watch the mortals wage war (20.160). After some taunting, Achilles and Aeneas meet on the battlefield (20.299). Aeneas' spear fails to penetrate the great shield of Achilles (20.310), and the ashen spear of Achilles penetrates Aeneas' shield but fails to hit him (20.319). Aeneas lifts a giant boulder, and we are given a future glimpse at fate: Aeneas will hit Achilles, but Achilles' counter will slay Aeneas (20.331). Oddly, it is Poseidon, not Apollo, who takes pity on Aeneas, for Poseidon tells the gods Aeneas is “destined to survive” (20.349). Hera refuses to pity a Trojan (20.357); so, Poseidon saves Aeneas and tells him to stay away from Achilles, because “no other Achaean can bring you down in war” (20.386). Unlike with Aeneas, Apollo advises Hector to not engage Achilles (20.428). Achilles slaughters several Trojans including Polydorus, the brother of Hector (20.476). Hector, unable to bear watching Achilles slaughter his countrymen, engages Achilles against Apollo's command and throws his spear at him (20.479). Athena makes Hector's spear blow back to him and land at his feet (20.500), and Apollo whisks Hector away before Achilles can kill him (20.502). More and more Trojans fall to Achilles until the young Trojan Tros falls at Achilles knees, clutching him, and begs for mercy (20.524). Achilles slits open is liver and watches his “dark blood” spill out (20.530). The book ends with Achilles raging like an “inhuman fire,” like a “frenzied god” (20.558). 91. What is the destiny of Aeneas?In his stance against Achilles, Aeneas presents his genealogy—presumably due to Apollo's observation that Aeneas' patrimony is more impressive than Achilles' (20.250, 125). We also see Poseidon tell the gods that Aeneas is “destined to survive” (20.349). Most notable, Poseidon prophesies: “Aeneas will rule the men of Troy in power—his son's sons and the sons born in future years” (20.355). How will Aeneas rule Troy, however, if Troy is already fated to be destroyed? Aeneas is destined to be the founder of a new Troy. His genealogy shows he is from the “younger branch of the Trojan royal house (Priam, king of Troy, was the older branch.”[2] And, as Fagles notes, “Aeneas is to be the only survivor of the royal house of Troy, and here his lineage is established.”

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In this episode Colton discusses this final section Homer's Iliad. He reconsiders the question he posed in Episode 2, “Is the purpose of Achilles' rage to set up the reader for something beautiful in Book 24?” Achilles' rage does not cease until Priam secretly comes to him by night to offer a ransom for the body of Hector. Why is this? How is it that Priam can still Achilles' rage once and for all? Could vice serve virtue in any capacity—meaning, does sin ever play a specifically-designed role in bringing about something wonderful that otherwise would not have occurred without sin? Colton considers all these questions in this final episode. ---Support this podcast: https://podcasters.spotify.com/pod/show/christ--classics/support ***GlossaHouse resources are available at our website! - https://glossahouse.com/ ✏️ ***Sign up for classes with GlossaHouse U - https://glossahouse.com/pages/classes

There's more to a holistic classical education than a heady pursuit of knowledge. Education isn't just about intellectual development, it's about forming affections, emotions, intellect and spirit. Our founder Cheryl Lowe said that teachers _have failed_ if students don't *cry* when Hector is killed or when Priam begs Achilles for this body of his son. A holistic classical education exposes students to the best art, music, and literature to cultivate students' _love_ of *the true, the good, and the beautiful.* You won't want to miss this episode where the table dives into education as formation! *Let your student experience adventure, camaraderie, and valor in The Iliad!* _BUY NOW:_ https://www.memoriapress.com/curriculum/classical-studies/iliad-set-instructional-videos-streaming/?utm_source=PodBean&utm_medium=CETC&utm_campaign=112 *How do Memoria Press literature guides uniquely cultivate student formation?* _READ NOW:_ https://www.memoriapress.com/articles/the-detail-of-formation/?utm_source=PodBean&utm_medium=CETC&utm_campaign=112 *Homeschool with Memoria Press this coming school year!* _Learn how our curriculum creates a successful environment._ https://www.memoriapress.com/homeschool/?utm_source=PodBean&utm_medium=CETC&utm_campaign=112

Deacon Harrison Garlick and Adam Minihan sit down to talk about the duel between Ajax and Hector in Book 7.In this episode we will discuss:What happens in book 7?What does Nestor, the old Achaean war chief, say to Hector?The duel between Ajax and Hector.How the end of book seven introduces the reader to the importance of burying the dead.What happens in book seven?Hector and Paris lead the “rampaging Trojans” on a counteroffensive against the Achaeans (7.19). Athena goes to intervene, but Apollo convinces her to “halt the war and the heat of combat now” to presumably save the Trojans from Athena's wrath (7.34). To do this, Athena inspires Helenus, one of the fifty sons of Priam, that the gods have commanded that Hector challenge the bravest Achaean to single combat (7.58). Hector makes the challenge, and it should be noted that the victor can retain the war gear of the deceased—but the body of the loser will be given back to his people for full burial rites (7.92). Homer says a “hushed silence went through the Achaean ranks, ashamed to refuse, afraid to take his challenges” (7.106). Menelaus stands to take the challenge, but his brother, Agamemnon, talks him down—one may once again ponder whether Agamemnon cares more for his brother or cares more that Menelaus' death might demotivate the Achaeans and end the Trojan war. Nestor, the old Achaean war chief, gives an oration on how if he was younger he would best Hector and taunts his “spineless” comrades (7.183). Nine Achaeans respond to the challenge and enter a lottery to see who fate selects (7.202). Giant Ajax is selected and his heart is filled with joy (7.220). Ajax and Hector duel, and Ajax arguably has the better of Hector who must be assisted by Apollo—but the duel ends at a draw due to nightfall (7.322). Both sides then separately come to the decision that the next day should have a break in the fighting in order that the dead may be given their ritual burials (7.380, 432). The parties make an oath to this effect (7.476) and bury their dead.42. What else should we observe in book seven?We continue to track the theme of fate. Apollo speaks of the “fixed doom of Troy” (7.35), and Hector, when speaking to the Achaeans, says Zeus could give the victory to either side (7.80). It is interesting that Ajax at first wants his comrades to pray but not out loud (7.224)—presumably so their prayers are not construed as him or the Achaeans being afraid (7.226). Attention should be given to the Trojan Antenor who both declares that Troy, having broken the truce, “fight as outlaws,” and recommends they give back Helen and all her treasures (7.400). His statement on the truce to his fellow Trojans is much more direct than Hector's statement to the Achaeans blaming Zeus (7.80). Paris refuses to offer Helen but agrees to offer the treasure—it is notable that Priam, who agrees not to offer Helen, blames Paris “who caused our long hard campaign” (7.430). Compare his statement to when he told Helen it was the fault of the gods (Question 23). We should ponder to what degree these statements are contradictory to each other. Remember when messengers repeat lines, Homer uses these opportunities to add a gloss (or an omission). Here, the Trojan messenger for Priam to the Achaeans adds that he wishes Paris would have drowned (7.450) and that Helen is the “lawful wife” of Menelaus (7.452). Another insight into the Trojan view of Paris.The end of book seven should be seen as introducing the reader to the importance of burying the dead—a theme that will take on central significance in the Iliad....

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 welcomes Dr. Karl Schudt to Ascend to discuss Book 3 of the Iliad - Helen Reviews the ChampionsIn this episode Dcn. Garlick and Dr. Karl Schudt will discuss:What happens in the third book of the Iliad?What is the story of Helen and Paris?What are Trojan politics concerning Helen and Paris?What is guest-friendship?What else should be noted in book 3?Book ThreeHelen Reviews the ChampionsParis' spirit shook, backing into his friendly ranks he cringed from death…dreading Atrides—magnificent, brave Paris.Iliad 3.35, 4121. What happens in the third book of the Iliad?The Achaean and Trojan armies line up against one another, and Paris, son of Priam and brother of Hector, struts out and challenges the best of the Argives (i.e., the Achaeans) to single combat (3.21). Menelaus, King of Sparta, answers the call, and Paris, upon seeing Menelaus, “cringed from death” and hides back amongst the Trojans (3.36). Hector chastises Paris, and Paris then agrees to single combat against Menelaus (3.84). The “challenge of Paris” is issued and accepted with the terms being that Helen and her treasures go to the victor, and friendship will be sealed in blood between the Achaeans and the Trojans (3.105). King Agamemnon and King Priam seal the challenge with an oath and sacrifice to Zeus (3.129). When it is clear that Paris has lost the duel, Aphrodite swoops in and transports Paris to his “bedroom full of scent” (3.439). Aphrodite coerces Helen to go to Paris, and Helen, at the longings of Paris, makes love to him (3.460, 517). Meanwhile, Menelaus, Helen's former (or actual) husband, is outside Troy “like a wild beast,” and his brother, Agamemnon, declares Menelaus the winner (3.527, 536). Helen and her treasures should go to Menelaus and the Achaeans; friendship should be bound in blood between Troy and the ancient Greeks; and the war should be over.22. What is the story of Helen and Paris?Homer continues to unravel slowly the narratives that brought about the Trojan war. As noted above (Question 18), Menelaus was now the king of Sparta and husband to Helen, daughter of Zeus. Paris and a contingency of Trojans visited Sparta and were welcomed warmly by Menelaus. Menelaus left his guests in good care to visit Crete, and in his absence Paris absconded with Helen to Troy. Given the oath secured by King Tyndareus (Question 18), Menelaus turned to all of ancient Greece to help him return Helen to Sparta. Homer presents several references to Helen departing with Paris: Paris “carried off a woman” (3.55); why Menelaus will not trust the oaths of the princes of Troy (3.129); Helen's emotions for Menelaus, her “husband long ago” (3.169); and Paris' own account of sweeping Helen away from the “lovely hills of Lacedaemon,” i.e., ancient Sparta (3.520). Notably, Homer introduces Helen in book three weaving a “growing web, a dark red folding robe” as a clear analogue of the war (3.151).23. What are Trojan politics concerning Helen and Paris? As book one revealed the complexities of Achaean politics, so too does book three reveal the internal politics of the Trojans. In short, almost no one likes Paris. After Paris hides from Menelaus, Hector chastises him saying, among other things, that it be better if Paris had never been born (3.45), he's a “curse” to his father, and a “joy” to the enemies of Troy (3.57-8). Moreover, the people of Troy seem to want to give his new bride, Helen, back the Achaeans (3.191). Helen...

Deacon Harrison Garlick and Adam Minihan take a slow read of Book 2 of The Iliad. Adam is not sure about this book, but by the end of the discussion, Deacon Garlick has talked Adam off the ledge.Book TwoThe Great Gathering of ArmiesThe rage of kings is strong—they're nursed by the gods, their honor comes from Zeus—they're dear to Zeus, the god who rules the world.Odysseus (2.226)14. What happens in the second book of the Iliad?Having accepted the petition of Thetis, Zeus sends a “murderous dream” to Agamemnon imploring him to muster his army and attack Troy (2.07). It is notable that “Dream” is personified, as is the “Dawn,” as a goddess (2.57), and Rumor, as “Zeus' crier” (2.109). Agamemnon receives the dream and shares it with his war council (2.63). The high king or chieftain of the Greeks then elects to test his men (2.86) and tells the army Zeus commands them to return to “Argos in disgrace” (2.129). The men rush to the ships to leave (2.174), but Hera sends Athena to intervene (2.183). Athena inspires Odysseus who in turn rouses the men to stay—reminding them of Calchas' prophecy they would conquer Troy in the tenth year (2.386). Nestor, the oldest of the Achaean war lords, encourages the men to stay as well (2.398), and, notably, Agamemnon only thanks Nestor afterward (2.439). There is then a roll call of the Achaean kings (2.573). The book ends with a similar roll call for the Trojans, which serves to introduce Prince Hector, commander of the Trojans and son of Priam, King of Troy (2.927). 15. What is the relation between Zeus and the kings of men?Odysseus declares, “The rage of kings is strong, they're nursed by the gods, their honor comes from Zeus—they're dear to Zeus, the god who rules the world” (2.226). Zeus' governance of the world is, at least in part, mediated through the kings of men. Homer provides such an example by Zeus working his will by influencing the actions of Agamemnon via the dream (2.07). The episode sheds further light on the relation between the will of Zeus and the free will of man. Note also, however, that the dream is a deceit. The gods are not united and Troy is not prime to be destroyed (2.16). The Dream also takes on the voice of Nestor (2.24). It is common for the gods to present their messages through faces familiar to the recipient. In response to the dream, Agamemnon tests his men and tells them Zeus has “plotted brutal treachery” and now commands they return home (2.134). The levels of irony and of deceit are notable. As Zeus lied to Agamemnon, Agamemnon now lies to his men. Moreover, Agamemnon's lie to his men about Zeus' treachery is more true than Agamemnon realizes. 16. Why is the dream repeated three times?It is a common characteristic for messages to repeated in full within the Homeric epics. Outside the benefit this would have for a bard, it also permits Homer a subtle literary device. Though the reader may be tempted to a certain inattention by all the repetition, Homer often has retellings change, add, or omit something. These small changes can have significant plot effects. A moderate example of this exercise can be seen in the fact that Zeus does not state that he pities Agamemnon. Such a statement is a gloss provided by Dream. To the extent such a statement could be true, it is certainly not true in the way Agamemnon believes.

In this episode, poet, playwright, teacher and activist Jacqueline Saphra talks to us about the poem that has been a friend to her: 'Ceasefire' by Michael Longley.We are so grateful to Jacqueline for joining us at this time, to talk about this beautiful poem and the part it has played in her life.Jacqueline Saphra is a poet, playwright, teacher and activist. She is the author of nine plays, five chapbooks and five poetry collections. The Kitchen of Lovely Contraptions (flipped eye) was shortlisted for the Aldeburgh First Collection Prize and If I Lay on my Back I Saw Nothing But Naked Women (The Emma Press) won Best Collaborative Work at The Sabotage Awards. Recent collections from Nine Arches Press are All My Mad Mothers (shortlisted for the T.S. Eliot Prize), Dad, Remember You are Dead and One Hundred Lockdown Sonnets. Jacqueline is a founder member of Poets for the Planet and teaches at The Poetry School. Her latest collection, Velvel's Violin (Nine Arches Press, 2023) is a Poetry Book Society Recommendation.Jacqueline is in conversation with The Poetry Exchange hosts, Fiona Bennett and Michael Shaeffer.*********Ceasefireby Michael LongleyIPut in mind of his own father and moved to tearsAchilles took him by the hand and pushed the old kingGently away, but Priam curled up at his feet andWept with him until their sadness filled the building.IITaking Hector's corpse into his own hands AchillesMade sure it was washed and, for the old king's sake,Laid out in uniform, ready for Priam to carryWrapped like a present home to Troy at daybreak.IIIWhen they had eaten together, it pleased them bothTo stare at each other's beauty as lovers might,Achilles built like a god, Priam good-looking stillAnd full of conversation, who earlier had sighed:IV‘I get down on my knees and do what must be doneAnd kiss Achilles' hand, the killer of my son.'From 'Ghost Orchid' (Jonathan Cape, 1998), copyright © Michael Longley 1998. Hosted on Acast. See acast.com/privacy for more information.

In this bedtime story, I tell you about Greek Mythology around the Trojan War, including the Iliad by Homer. We explore its storylines and numerous characters, from gods like Zeus, Athena, Apollo, Aphrodite and Hera to heroes and other mortals: Menelaus, Agamemnon, Odysseus, Achilles, Ajax, Patroclus, Hector, Priam, Paris, Aeneas, Helen of Troy, and many more. Discover how the feud between gods for Eris' golden apple spilled over to the world of men, and everything that ensued. I also tell you about the Trojan Horse, various other myths, and archaeology: when and how did Greek mythology take shape? Was Troy real? Where is the line between legend and history? Listen on Youtube: ⁠⁠https://www.youtube.com/@LightsOutLibraryov⁠⁠ ¿Quieres escuchar en Español? Echa un vistazo a La Biblioteca de los Sueños! En Spotify: ⁠⁠https://open.spotify.com/show/1t522alsv5RxFsAf9AmYfg⁠⁠ En Apple Podcasts: ⁠⁠https://podcasts.apple.com/us/podcast/la-biblioteca-de-los-sue%C3%B1os-documentarios-para-dormir/id1715193755⁠⁠ En Youtube: ⁠⁠https://www.youtube.com/@LaBibliotecadelosSuenosov⁠

I swear this chapter really is about more than Cassandra.   To join the discussion, visit the blog at Triumvir Clio's School of Classical Civilization.  If there's no hyperlink showing up here, you can go to triumvirclio.school.blog to find a feed of recent episodes as well as discussion pages for every episode. Join me on Patreon at www.patreon.com/triumvirclio to get early access to ad-free episodes and bonus content.    References Apollodorus. The Library. Translated by Sir James George Frazer. Loeb Classical Library Volumes 121 & 122. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1921. Available online at https://www.theoi.com/Text/Apollodorus1.html and http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.0022.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/bethany-banner/message Support this podcast: https://podcasters.spotify.com/pod/show/bethany-banner/support

Priam and Hecuba's story continues.

Andromache appears in the university observatory to recount her tragic tale. 175 Andromache is a main-belt asteroid – not a Trojan in the L4 or L5 Lagrange points in Jupiter's orbit. But since her character is central to the Trojan war, we've included her in this special series.  Written and directed by KJ Dwyer. Edited by Bibi Jacob. With Mia Leahy as Dardana and Kate Colebrook as Petra. Original violin and vocal compositions written and performed by Chloe Dunn. Sound and production by Geoff Chong. Recorded at the SACD studios, Paris. You can listen to more of Chloe Dunn's beautiful music, on becaflor.com / Bècaflor Teaser

Tonight's episode looks in on history, creativity, and mourning from three different angles: In the first part, we hear scattered remarks from Bruce Springsteen over the years, about his low-fi and haunting 1982 album, ⁠Nebraska⁠. It is remarkable how the album was made by Springsteen, alone in his bedroom, with a cheap recorder. For someone who bridges and so seamlessly combines music of the fifties, sixties and seventies, Nebraska sounds nearly timeless. In the second part, I read a small section from Simon Schama's 1995 book, ⁠Landscape and Memory⁠. Here, he talks about not just his own Jewish ancestry, who hailed from the woods and forests of Ruthenia (on the border between today's Poland and Lithuania), but also about the fate of one Polish village's Jewish population, during and following World War Two. In the third part, I read from book 24 of ⁠Homer's Iliad⁠, translated by Richmond Lattimore. In one of the most moving scenes anywhere in Homer's epics, Priam, the king of Troy, pays a visit to Achilles, the greatest warrior on the Greek side. Achilles has only recently killed Priam's son, Hector, in battle, and the old man comes to Achilles for beg for his son's body back, so that he can be given a proper funeral and burial. Don't forget to support Human Voices Wake Us on Substack, where you can also get our newsletter and other extras. You can also support the podcast by ordering any of my books: Notes from the Grid, To the House of the Sun, The Lonely Young & the Lonely Old, and Bone Antler Stone. --- Send in a voice message: https://podcasters.spotify.com/pod/show/humanvoiceswakeus/message Support this podcast: https://podcasters.spotify.com/pod/show/humanvoiceswakeus/support

It's here: our last episode on the Iliad! Achilles continues to mourn Patroclus, and to try to disfigure Hector's body. After days of this, Apollo intervenes, and the gods help Priam to retrieve his son's body from Achilles' tent. Brian, Shilo, and Jeff consider Achilles' "foreign policy" in his dealings with Priam, and the meaning of Homer's epic as a whole. Does the end of the Iliad portray a decline to a world run by liars and dancers, or an ascent to an almost joyful tragic insight into human power? In the final analysis, is it better to be a human being than to be a god? Do we need to read the Odyssey together to answer these questions? --- Support this podcast: https://podcasters.spotify.com/pod/show/brian-wilson5/support

We're back, with our preantepenultimate episode on the Iliad! In Book 21, we get into the action. Achilles kills so many Trojans that the river Scamander protests the mess he is making. So Achilles fights the river, and nearly dies. Then there is a war between the gods; they lay it on without restraint. Meanwhile, Achilles kills two of Priam's sons, as he watches. And the Trojans are driven back into the gates of Troy. Join Brian, Shilo, and Jeff as they talk about what it might look like to fight a river, and wonder why Achilles cares about how his body looks after he dies. Is Achilles driven by justice in this book, or the noble, or both? Is excellence more visible in a contest between equals, or between unequals? And does Zeus enjoy the suffering of the gods because it makes them better? --- Support this podcast: https://podcasters.spotify.com/pod/show/brian-wilson5/support

 Legendary Passages #0118,Philostratus the Elder, Imagines Book 2,Image 2,Centaurs & Hippolytus. Previously, Theseus fought a war against the centaurs, and cursed his son Hippolytus to an early death. In this passage, we hear descriptions of the education of Achilles by the centaur Chiron, female centaurs and their foals, and the tragic fate of Hippolytus.  The first image is that of the boy Achilles, fated to fight and die in the Trojan War. He is an athletic boy being trained by the centaur Chiron, like many heroes before him. Chiron lets the boy ride on his back to teach him horse-riding, and rewards his efforts with apples and honey. The second image is of pretty centaur mares, their beauty comparable to Naiad mermaids or the horse-riding amazons. Their babies are born fairly human, eventually sprouting manes and their feet becoming tender hooves, turning wild at a young age. The last image shows the end of Hippolytus, the son of Theseus and the amazon Antiope. Theseus eventually married the sister of Ariadne, Phaedra, and when Hippolytus spurned her advances, she accused him instead. Theseus cursed his own son; and while Hippolytus rode his chariot along the shoreline, a white bull emerged from the waters, terrified his horses, and the chariot crashed. The very landscape of the painting mourns the passing of the mangled youth, handsome even in the throws of death.Centaurs & Hippolytus,a Legendary Passage from,Arthur Fairbanks translating,Philostratus the Elder,Imagines Book 2,Images 2-4.https://www.theoi.com/Text/PhilostratusElder2A.html#22.2. THE EDUCATION OF ACHILLES A fawn and a hare – these are the spoils of hunting of Achilles as he is now, the Achilles who at Ilium will capture cities and horses and the ranks of men, and rivers will do battle with him when he refuses to let them flow, and as reward of those exploits he will bear away Briseïs and the seven maidens from Lesbos and gold and tripods and authority over the Achaeans; but the exploits here depicted, done at Cheiron's home, seem to deserve apples and honey as rewards, and you are content with small gifts, Achilles, you who one day will disdain whole cities and marriage with Agamemnon's daughter. Nay, the Achilles who fights at the trench, who puts the Trojans to rout merely by his shouting, and who slays men right and left, and reddens the water of the Scamander, and also his immortal horses, and his dragging of Hector's body around the walls, and his lamentation on the breast of Patroclus – all this has been depicted by Homer, and he depicts him also as singing and praying and receiving Priam under his roof. This Achilles, however, a child not yet conscious of valour, whom Cheiron still nourishes upon milk and marrow and honey, he has offered to the painter as a delicate, sport-loving child and already light of foot. For the boy's leg is straight and his arms come down to his knees (for such arms are excellent assistants in the race); his hair is charming and loose; for Zephyrus in sport seems to shift it about, so that as it falls, now here, now there, the boy's appearance may be changed. Already the boy has a frowning brow and an air of spirited haughtiness, but these are made gentle by a guileless look and by gracious cheeks that send for a tender smile. The cloak he wears is probably his mother's gift; for it is beautiful and its colour is sea-purple with red glints shading into a dark blue. Cheiron flatters him by saying that he catches hares like a lion and vies with fawns in running; at any rate, he has just caught a fawn and comes to Cheiron to claim his reward, and Cheiron, delighting to be asked, stands with fore-legs bent so as to be on a level with the boy and offers him apples fair and fragrant from the fold of his garment – for their very fragrance seems to be depicted – and with his hand he offers him a honeycomb dripping with honey, thanks to the diligent foraging of the bees. For when bees find good meadows and become big with honey, the combs get filled to overflowing and their cells pour it forth.  Now Cheiron is painted in every aspect like a centaur; yet to combine a horse and human body is no wondrous deed, but to gloss over the juncture and make the two into one whole and, by Zeus, cause one to end and the other to begin in such wise as to elude the eye of the observer who should try to detect where the human body ends, this seems to me to demand an excellent painter. That the expression seen in the eye of Cheiron is gentle is the result of his justice, but the lyre also does its part, through whose music he has become cultured; but now there is also something of cozening in his look, no doubt because Cheiron knows that this soothes children and nurtures them better than milk. This is the scene at the entrance of the cave; and the boy out on the plain, the one who is sporting on the back of the centaur as if it were a horse, is still the same boy; for Cheiron is teaching Achilles to ride horseback and to use him exactly as a horse, and he measures his gait to what the boy can endure, and turning around he smiles at the boy when he laughs aloud with enjoyment, and all but says to him, “Lo, my hoofs paw the ground for you without use of spur; lo, I even urge you on; the horse is indeed a spirited animal and gives no ground for laughter. For although you have been taught by me thus gently the art of horsemanship, divine boy, and are suited to such a horse as I, some day you shall ride on Xanthos and Balios; and you shall take many cities and slay many men, you merely running and they trying to escape you.” Such is Cheiron's prophecy for the boy, a prophecy fair and auspicious and quite unlike that of Xanthos.2.3. FEMALE CENTAURS You used to think that the race of centaurs sprang from trees and rocks or, by Zeus, just from mares – the mares which, men say, the son of Ixion coveted, the man by whom the centaurs though single creatures came to have their double nature. But after all they had, as we see, mothers of the same stock and wives next and colts as their offspring and a most delightful home; for I think you would not grow weary of Pelion and the life there and its wind-nurtured growth of ash which furnishes spear-shafts that are straight and at the same time do not break at the spearhead. And its caves are most beautiful and the springs and the female centaurs beside them, like Naïads if we overlook the horse part of them, or like Amazons if we consider them along with their horse bodies; for the delicacy of their female form gains in strength when the horse is seen in union with it.  Of the baby centaurs here some lie wrapped in swaddling clothes, some have discarded their swaddling clothes, some seem to be crying, some are happy and smile as they suck flowing breasts, some gambol beneath their mothers while others embrace them when they kneel down, and one is throwing a stone at his mother, for already he grows wanton. The bodies of the infants have not yet taken on their definite shape, seeing that abundant milk is still their nourishment, but some that already are leaping about show a little shagginess, and have sprouted mane and hoofs, though these are still tender. How beautiful the female centaurs are, even where they are horses; for some grow out of white mares, others are attached to chestnut mares, and the coat's of others are dappled, but they glisten like those of horses that are well cared for. There is also a white female centaur that grows out of a black mare, and the very opposition of the colours helps to produce the united beauty of the whole.2.4. HIPPOLYTUS The wild beast is the curse of Theseus; swift as dolphins it has rushed at the horses of Hippolytus in the form of a white bull, and it has come from the sea against the youth quite unjustly. For his stepmother Phaedra concocted a story against him that was not true, to the effect that Hippolytus loved her, - but it was really herself that was in love with the youth – and Theseus, deceived by the tale, calls down upon his son the curse which we see here depicted. The horses, as you see, scorning the yoke toss their manes unchecked, not stamping their feet like well bred and intelligent creatures, but overcome with panic and terror, and spattering the plain with foam, one while fleeing has turned its head toward the beast, another has leaped up at it, another looks at it askance, while the onrush of the fourth carries him into the sea as though he had forgotten both himself and dry land; and with erect nostrils they neigh shrilly, unless you fail to hear the painting. Of the wheels of the chariot one has been torn from its spokes as the chariot has tipped over upon it, the other has left its axle and goes rolling off by itself, its momentum still turning it. The horses of the attendants also are frightened and in some cases throw off their riders, while as for those who grasp them firmly about the neck, to what goal are they now carrying them? And thou, O youth that lovest chastity, thou hast suffered injustice at the hands of thy step-mother, and worse injustice at the hands of thy father, so that the painting itself mourns thee, having composed a sort of poetic lament in thine honour. Indeed yon mountain-peaks over which thou didst hunt with Artemis take the form of mourning women that tear their cheeks, and the meadows in the form of beautiful youths, meadows which thou didst call “undefiled,”  cause their flowers to wither for thee, and nymphs thy nurses emerging from yonder springs tear their hair and pour streams of water from their bosoms.  Neither did thy courage protect thee nor yet thy strong arm, but of thy members some have been torn off and others crushed, and thy hair has been defiled with dirt; they breast is still breathing as though it would not let go of the soul, and thine eye gazes at all thy wounds. Ah, thy beauty! How proof it is against wounds no one would have dreamed. For not even now does it quit the body; nay, a charm lingers even on thy wounds.https://www.theoi.com/Text/PhilostratusElder2A.html#4 This passage continues with Rhodogoune, but in our next episode we read a letter from Phaedra to Hippolytus.

In this special series, Tales of the NIght Sky takes you into the heart of a large group of asteroids that orbit with Jupiter around the sun. These two camps of heavenly bodies - the Greeks leading and the Trojans trailing Jupiter  - are known as the Trojan asteroids. Each identified asteroid is named after a protagonist in Homer's Iliad. And these characters find themselves locked in orbit, endlessly reliving the trauma of war. This original series was co-created with KJ Dwyer and features collaborations with several writers.  With thanks to Chris Mack for the unique concept, sparked off in our writers group. In the first of the Trojans, the seer Aisakos interprets Queen Hecuba's dream. Starring Ciaran Cresswell. Written and directed by Bibi Jacob. Introduction written by KJ Dywer and Bibi Jacob. Sound and production by Geoff Chong. Useful sources for this episode: theoi.com , spannycattroy.livejournal.com

In this presentation from Brother L. Douglas El will be addressing the topic: Who Are The Moors? We will be making sense out of all the claims you may have heard online including but not limited to historical claims about Egypt being in America, that America is Morocco, black people are indigenous to the Americas, sovereignty, and MUCH MORE! Sources: Golden Age of the Moor by Dr. Ivan Van Sertima (out of print) https://amzn.to/3DXTwvD Mysteries of the Mexican Pyramids by Peter Tompkins https://amzn.to/3DwDQ1f Freeemasonry of the Ancient Egyptians by Manly P. Hall https://amzn.to/3DzSvJ0 Discovering the Mysteries of Ancient America: Lost History and Legends Unearthed and Explored by Frank Joseph https://amzn.to/3h8r3ue Queen Moo and the Egyptian Sphinx by Augustus Le Plongeon https://amzn.to/3DrGp4A Stolen Legacy by George G.M. James https://amzn.to/3WGTGiH Holy Koran of the Moorish Science Temple of America, ch. 47 "Slavery and the Making of America" PBS.com Negor Law of South Carolina 1740 Moslem territory Muhammadan Africa 1899 Map Henry Berry speach to the Virginia House of Delegates in 1832 https://en.wikipedia.org/wiki/Priam%27s_Treasure https://en.wikipedia.org/wiki/Flag_of_New_England https://en.wikipedia.org/wiki/Pine_Tree_Flag https://www.revolutionary-war-and-beyond.com/continental-flag.html https://en.wikipedia.org/wiki/Great_Peacemaker https://en.wikipedia.org/wiki/Great_Law_of_Peace https://en.wikipedia.org/wiki/Tamanend Newspaper articles: Blackamoor as the Native American Tobacco - Blackamoor Article from the Western Kansas world March 14 1903 Blackamoor Negur Indians - Spirit of the times Ironton Ohio November 13 1855 Links: Podcast: https://www.MoorsinAmerica.com https://www.youtube.com/MoorsinAmerica7 Fezzes for Sale: https://www.MoorishFez.com Temple Website: https://www.MoorishAmericans.com Marketing Services: https://www.realtrafficmarketing.com Our Temple Website: https://www.MoorishAmericans.com Marketing Services: https://www.realtrafficmarketing.com --- Support this podcast: https://anchor.fm/moorish-americans/support

In this episode, Alissa Rubin reads an excerpt from the ancient Greek epic The Iliad. Rubin is a Senior International Correspondent for The New York Times. She worked previously as the Bureau Chief in Baghdad, Paris, and Kabul. In 2016, she was awarded the Pulitzer Prize in International Reporting for "thoroughly reported and movingly written accounts giving voice to Afghan women who were forced to endure unspeakable cruelties." The passage that Rubin selected is from the very last book of The Iliad, and portrays an encounter between the Trojan King Priam and the Greek warrior Achilles. If you're unfamiliar with the story, all you really need to know — for our purposes — is that Priam's son killed Achilles' best friend in combat, and Achilles then killed Priam's son in retribution. At the point where we meet them, Achilles has been dragging the body of his slain enemy behind his chariot for twelve days, and Priam has come in person to his enemy's encampment to plead for the return of his son's body.  The Iliad by Homer, translated by Robert Fagles, is published by Penguin Random House. Alissa Rubin's reporting – including her recent must-read coverage on climate change in the Middle East – is available to subscribers of The New York Times. We feature one short listener poem at the end of every episode. To submit, call the Haiku Hotline at 612-440-0643 and read your poem after the beep. For the occasional prompt, follow us on Twitter, Instagram, and Facebook. Subscribe on RadioPublic, Apple Podcasts, Spotify, or Stitcher.

In this episode, Paris and Menelaus duel over Helen and the fate of Troy. Menelaus wins (yeah, he does) -- so why doesn't the war end here? Brian, Shilo, and Jeff discuss what this book of the Iliad teaches us about the difference between Greeks and Trojans: are the Greeks all about anger, and the Trojans all about sex? Also: who is the better leader: Priam, Agamemnon, or Hector? Who is better at using shame to motivate his followers? You can ask us questions on our pod by emailing us at combatandclassics.org and follow us on social media @combatandclassics. --- Support this podcast: https://anchor.fm/brian-wilson5/support

As Dave and Jeff plow deeper into Book 2 it is clearly getting worse for the Trojans. They didn't Sinon for this! Those wily Greeks have set the trap and now it begins to spring. First, coiled, creepy snakes come writhing out of the sea to put Laocoon and his two unlucky sons into a suplex and drag them to watery graves. The Trojans read this omen in exactly the wrong way, and think that this is the perfect time to slap some roller skates on that huge wooden equine  and surf it into the city. And, well, we all know what happens next. Greeks storm the citadel, horrors multiply. Pyrrhus murders old Priam at Minerva's altar. Aeneas is frozen in indecision—what should he do? Go down swinging? Run for it? Take Dave to task for his irrational opposition to R.E.M. and Michael Stipe?